Загрузка видео...

Не удалось загрузить видео

На главную

Wuwa leaks 3.4 𝗣𝗵𝗼𝘁𝗼 𝗙𝗲𝗮𝘁𝘂𝗿𝗲 𝗜𝗺𝗽𝗿𝗼𝘃𝗲𝗺𝗲𝗻𝘁𝘀 ❶ Added camera movement and tilt controls: ∘ E = move backward ∘ Q = move forward ∘ Supports left/right tilt adjustments ❷ Added an HD option: ∘you can take photos at 2–3× higher resolution.

BlackshoresWUWA's profile picture

Timely Black Shores

8,154 subscribers

25,424 просмотров • 4 месяцев назад •via X (Twitter)

LIVE

Anya Rossi• Live Now

Private livecam show

Комментарии: 0

Нет доступных комментариев

Здесь появятся комментарии из оригинального поста

Похожие видео

It's not an accident that Jhoan Duran and Mason Miller are at the top of baseball's velocity charts. When you break down their mechanics, one number jumps out: they both get into footstrike in 1.05 seconds or less. ⚡️ Why does that matter? Timing into footstrike is one of the simplest, most powerful tells in a delivery. The faster you get your front foot down, the less time your body has to add unnecessary movement. Slow deliveries leave room for energy leaks. Every extra beat is another chance for your mechanics to fall out of sync. This is especially true for younger pitchers who are less coordinated and newer to throwing. When you move fast and with intent, you cut out wasted motion and let athleticism take over. This is why "move fast" is the simplest cue you can give a pitcher at every level. Simplify the movement, stay on time and let the velocity show up on its own. Duran and Miller are proof that elite velo starts with elite tempo. ⚾🔥
0:11

It's not an accident that Jhoan Duran and Mason Miller are at the top of baseball's velocity charts. When you break down their mechanics, one number jumps out: they both get into footstrike in 1.05 seconds or less. ⚡️ Why does that matter? Timing into footstrike is one of the simplest, most powerful tells in a delivery. The faster you get your front foot down, the less time your body has to add unnecessary movement. Slow deliveries leave room for energy leaks. Every extra beat is another chance for your mechanics to fall out of sync. This is especially true for younger pitchers who are less coordinated and newer to throwing. When you move fast and with intent, you cut out wasted motion and let athleticism take over. This is why "move fast" is the simplest cue you can give a pitcher at every level. Simplify the movement, stay on time and let the velocity show up on its own. Duran and Miller are proof that elite velo starts with elite tempo. ⚾🔥

Mustard 〽️

38,700 просмотров • 11 дней назад

Successfully generated this with Seedance 2.5—without any face-related moderation restrictions. The result is amazing! prompt： For the target video, at 0.00 seconds into the target video, (from [Shot 1]) is fully referenced. integrated_multimodal_description: [Shot 1] A continuous live-action first-person smartphone recording based entirely on . is the only visual reference for the adult female dancer's appearance, face, hairstyle, hair color, costume, body proportions, environment, room layout, wall, floor, lighting, color and initial spatial composition. Preserve the original visual identity and environment of . The camera closely reproduces the distinctive perspective of : a strong high-angle first-person smartphone POV looking substantially downward at the woman. The camera is clearly above her eye level. The top of her head, shoulders and upper body are visibly seen from above. Keep substantial ceiling visible in the upper part of the frame. Do not use an eye-level view, third-person view, orbiting camera or cuts. A single adult arm belonging to the camera operator enters naturally from the lower-right foreground. Show a connected forearm, wrist, palm and fingers. The hand is a moderate-size foreground element, not a giant object. Keep the hand primarily within the lower-right quadrant, occupying approximately 10–18% of the image area. The hand must never extend across the center, cover the woman's face or cover her torso. The woman remains the primary visual subject and the hand is only the foreground controller. Keep the woman physically close to the smartphone, approximately 1.0–1.2 meters away. Her full body occupies approximately 70–80% of the vertical frame. Do not pull the camera backward, do not place her deep in the room and do not progressively make her smaller. The foreground index finger directly controls the woman's dance movement. The woman does not independently freestyle. The hand is the visible movement cue and the woman's body immediately follows it. Maintain these exact control relationships throughout the entire video: UP → WOMAN RISES. DOWN → WOMAN LOWERS. LEFT → WOMAN MOVES LEFT. RIGHT → WOMAN MOVES RIGHT. For UP, the index finger moves clearly upward and the woman's body immediately rises. Her torso extends upward, her posture becomes taller, her arms naturally rise and her center of gravity moves upward. For DOWN, the index finger moves clearly downward and the woman's body immediately lowers. Her knees bend slightly, hips lower, center of gravity drops and torso lowers into a controlled dance position. For LEFT, the index finger moves toward screen-left and the woman's body immediately shifts and sways toward screen-left. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. For RIGHT, the index finger moves toward screen-right and the woman's body immediately shifts and sways toward screen-right. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. LEFT and RIGHT must not become tiny hip twitches. The woman's body must visibly move from side to side. Keep the horizontal movement simple so the connection between finger direction and body direction remains unmistakable. The hand gesture and corresponding body movement are tightly synchronized. The woman's movement begins as the corresponding finger gesture begins and develops within the same musical beat. No noticeable reaction delay, no one-beat delay, no anticipation and no independent movement. The dance is a confident, sexy viral short-form influencer dance: energetic rhythmic hip movement, controlled waist isolation, subtle torso waves, attractive shoulder movement, pronounced but tasteful hip accents, confident posture, playful facial expression, direct eye contact and natural hair movement. The dance should feel like a polished viral social-media dance challenge. Make the movement sexy, stylish, rhythmic and visually captivating while keeping it non-explicit. During LEFT and RIGHT movements, maintain the direct horizontal hand control while adding sensual hip accents. During UP and DOWN movements, maintain the direct vertical hand control while adding smooth waist and body movement. Never sacrifice hand-to-body control for complicated choreography. Use a fast modern viral dance rhythm with strong clear beats. Command sequence: UP → DOWN → LEFT → RIGHT → LEFT → RIGHT → UP → DOWN → LEFT → RIGHT. Each command produces one clearly visible corresponding body movement. Do not add unrelated freestyle movements, spins, walking or complicated footwork. The index finger moves with strong, deliberate gestures. The wrist and forearm naturally follow the finger. Use short, clear upward, downward, leftward and rightward gestures. Do not use weak floating gestures. Keep the hand in the lower-right foreground and never allow it to dominate the center of the frame. Maintain one continuous handheld smartphone recording with subtle natural camera instability. Preserve the strong high-angle perspective and close composition throughout the entire shot. Do not zoom out, pull backward, lower the camera or lose either the hand or the woman's full body. At the end, use LEFT → RIGHT → UP. The woman performs a left body movement with a sensual hip accent, a right body movement with a sensual hip accent, then rises into a confident final dance pose. The hand remains in the lower-right foreground and does not move into the center. Hold the final pose briefly. overall_soundscape: Natural indoor room ambience, subtle foot movement, fabric movement and quiet smartphone handling sounds, preserving the acoustic character of . non_diegetic_music: A modern viral short-form dance track with strong punchy beats, crisp percussion and clear rhythmic accents. Each major beat provides a timing point for the hand gesture and its corresponding dance movement.
0:11

Sensitive content

Successfully generated this with Seedance 2.5—without any face-related moderation restrictions. The result is amazing! prompt： For the target video, at 0.00 seconds into the target video, (from [Shot 1]) is fully referenced. integrated_multimodal_description: [Shot 1] A continuous live-action first-person smartphone recording based entirely on . is the only visual reference for the adult female dancer's appearance, face, hairstyle, hair color, costume, body proportions, environment, room layout, wall, floor, lighting, color and initial spatial composition. Preserve the original visual identity and environment of . The camera closely reproduces the distinctive perspective of : a strong high-angle first-person smartphone POV looking substantially downward at the woman. The camera is clearly above her eye level. The top of her head, shoulders and upper body are visibly seen from above. Keep substantial ceiling visible in the upper part of the frame. Do not use an eye-level view, third-person view, orbiting camera or cuts. A single adult arm belonging to the camera operator enters naturally from the lower-right foreground. Show a connected forearm, wrist, palm and fingers. The hand is a moderate-size foreground element, not a giant object. Keep the hand primarily within the lower-right quadrant, occupying approximately 10–18% of the image area. The hand must never extend across the center, cover the woman's face or cover her torso. The woman remains the primary visual subject and the hand is only the foreground controller. Keep the woman physically close to the smartphone, approximately 1.0–1.2 meters away. Her full body occupies approximately 70–80% of the vertical frame. Do not pull the camera backward, do not place her deep in the room and do not progressively make her smaller. The foreground index finger directly controls the woman's dance movement. The woman does not independently freestyle. The hand is the visible movement cue and the woman's body immediately follows it. Maintain these exact control relationships throughout the entire video: UP → WOMAN RISES. DOWN → WOMAN LOWERS. LEFT → WOMAN MOVES LEFT. RIGHT → WOMAN MOVES RIGHT. For UP, the index finger moves clearly upward and the woman's body immediately rises. Her torso extends upward, her posture becomes taller, her arms naturally rise and her center of gravity moves upward. For DOWN, the index finger moves clearly downward and the woman's body immediately lowers. Her knees bend slightly, hips lower, center of gravity drops and torso lowers into a controlled dance position. For LEFT, the index finger moves toward screen-left and the woman's body immediately shifts and sways toward screen-left. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. For RIGHT, the index finger moves toward screen-right and the woman's body immediately shifts and sways toward screen-right. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. LEFT and RIGHT must not become tiny hip twitches. The woman's body must visibly move from side to side. Keep the horizontal movement simple so the connection between finger direction and body direction remains unmistakable. The hand gesture and corresponding body movement are tightly synchronized. The woman's movement begins as the corresponding finger gesture begins and develops within the same musical beat. No noticeable reaction delay, no one-beat delay, no anticipation and no independent movement. The dance is a confident, sexy viral short-form influencer dance: energetic rhythmic hip movement, controlled waist isolation, subtle torso waves, attractive shoulder movement, pronounced but tasteful hip accents, confident posture, playful facial expression, direct eye contact and natural hair movement. The dance should feel like a polished viral social-media dance challenge. Make the movement sexy, stylish, rhythmic and visually captivating while keeping it non-explicit. During LEFT and RIGHT movements, maintain the direct horizontal hand control while adding sensual hip accents. During UP and DOWN movements, maintain the direct vertical hand control while adding smooth waist and body movement. Never sacrifice hand-to-body control for complicated choreography. Use a fast modern viral dance rhythm with strong clear beats. Command sequence: UP → DOWN → LEFT → RIGHT → LEFT → RIGHT → UP → DOWN → LEFT → RIGHT. Each command produces one clearly visible corresponding body movement. Do not add unrelated freestyle movements, spins, walking or complicated footwork. The index finger moves with strong, deliberate gestures. The wrist and forearm naturally follow the finger. Use short, clear upward, downward, leftward and rightward gestures. Do not use weak floating gestures. Keep the hand in the lower-right foreground and never allow it to dominate the center of the frame. Maintain one continuous handheld smartphone recording with subtle natural camera instability. Preserve the strong high-angle perspective and close composition throughout the entire shot. Do not zoom out, pull backward, lower the camera or lose either the hand or the woman's full body. At the end, use LEFT → RIGHT → UP. The woman performs a left body movement with a sensual hip accent, a right body movement with a sensual hip accent, then rises into a confident final dance pose. The hand remains in the lower-right foreground and does not move into the center. Hold the final pose briefly. overall_soundscape: Natural indoor room ambience, subtle foot movement, fabric movement and quiet smartphone handling sounds, preserving the acoustic character of . non_diegetic_music: A modern viral short-form dance track with strong punchy beats, crisp percussion and clear rhythmic accents. Each major beat provides a timing point for the hand gesture and its corresponding dance movement.

underwood

245,132 просмотров • 27 дней назад

What if you could choreograph an entire action scene before generating a single frame? 🥋🎬 That’s what I wanted to test with Pippitofficial’s 3D Director Studio + Seedance 2.5. I created a scene with two girls demonstrating a series of karate moves and used the 3D workspace to figure out the sequence first. The interesting part is that I wasn’t relying on a giant prompt to explain every movement. I could place both characters in the scene, set up the environment, choose props from 150+ available options, and then map out how the performance should unfold. One move at a time. Step in → stance → punch → block → kick → reset → next move. The timeline makes it possible to arrange actions and control their timing, while movement trajectories help define where the characters should go. And then there’s the camera. Instead of hoping the generated video finds the right angle, I could plan the camera movement around the choreography and decide how the sequence should be captured. That’s the part I found most useful. You can think through the scene visually before asking AI to generate the final result. Characters. Movement. Timing. Camera. All planned first. Then Seedance 2.5 turns that setup into the actual video. For me, this feels like a shift from simply prompting AI to actually directing the shot. Try Pippit 3D Director Studio: #3DDirectorStudio #PippitAI #Seedance25 #PippitPartner
0:10

What if you could choreograph an entire action scene before generating a single frame? 🥋🎬 That’s what I wanted to test with Pippitofficial’s 3D Director Studio + Seedance 2.5. I created a scene with two girls demonstrating a series of karate moves and used the 3D workspace to figure out the sequence first. The interesting part is that I wasn’t relying on a giant prompt to explain every movement. I could place both characters in the scene, set up the environment, choose props from 150+ available options, and then map out how the performance should unfold. One move at a time. Step in → stance → punch → block → kick → reset → next move. The timeline makes it possible to arrange actions and control their timing, while movement trajectories help define where the characters should go. And then there’s the camera. Instead of hoping the generated video finds the right angle, I could plan the camera movement around the choreography and decide how the sequence should be captured. That’s the part I found most useful. You can think through the scene visually before asking AI to generate the final result. Characters. Movement. Timing. Camera. All planned first. Then Seedance 2.5 turns that setup into the actual video. For me, this feels like a shift from simply prompting AI to actually directing the shot. Try Pippit 3D Director Studio: #3DDirectorStudio #PippitAI #Seedance25 #PippitPartner

Shabnam Parveen

51,713 просмотров • 11 дней назад

i built an open world minigame that's controlled with hand movements only here's a step-by-step tutorial: > started with my mediapipe + threejs template (see QT) > added a 3D model made by quaternius > sent a few prompts to gemini 3... --- prompt #1: repurpose the attached script, but now I want to import a gltf model (assets/model.gltf) and use that in the scene instead of the cube when the user moves their hand, a waypoint indicator should move around the scene, and the 3D model should smoothly move there when the user makes a fist, the model should jump the 3D model contains bundled animations in it. use the "idle", "run", and "jump" animations --- prompt #2: make this a procedural open world adventure. generate very simple procedural voxel terrain when the model gets near the edges of the screen, the camera should move, allowing the model to keep going in that direction --- prompt #3: add some floating glowing gems around the map that the user can collect --- i made some manual tweaks for styling and game feel, but that's the gist of it thanks for reading if you got all the way here full code is available at my link in bio
0:15

i built an open world minigame that's controlled with hand movements only here's a step-by-step tutorial: > started with my mediapipe + threejs template (see QT) > added a 3D model made by quaternius > sent a few prompts to gemini 3... --- prompt #1: repurpose the attached script, but now I want to import a gltf model (assets/model.gltf) and use that in the scene instead of the cube when the user moves their hand, a waypoint indicator should move around the scene, and the 3D model should smoothly move there when the user makes a fist, the model should jump the 3D model contains bundled animations in it. use the "idle", "run", and "jump" animations --- prompt #2: make this a procedural open world adventure. generate very simple procedural voxel terrain when the model gets near the edges of the screen, the camera should move, allowing the model to keep going in that direction --- prompt #3: add some floating glowing gems around the map that the user can collect --- i made some manual tweaks for styling and game feel, but that's the gist of it thanks for reading if you got all the way here full code is available at my link in bio

AA

131,799 просмотров • 9 месяцев назад

Release: LichtFeld Studio v0.5.3 is out! With 316 commits merged into master, this release is a huge step forward for LichtFeld Studio. What's new in v0.5.3 • Vulkan viewer/rendering migration: New Vulkan viewport pipeline, pass graph, VkSplat renderer, Vulkan point-cloud renderer, 3DGUT/VkSplat support, improved alpha/depth composition, tighter CUDA/Vulkan interoperability, and device matching on multi-GPU systems. • RAD + LOD workflow: Added RAD file export/import, RAD LOD viewer, Spark-style GPU LOD selection, GPU-driven page prefetching, a bounded VRAM pool, out-of-core PLY-to-RAD LOD conversion, and RAD import/export speedups of approximately 3–5×. • HiGS / macro-tile inference: Added a macro-tile inference path for the Vulkan viewer, including macro sorting, batched rasterization, composition, and capacity management. • Asset Manager: Added and significantly enhanced the Asset Manager with thumbnails, SH information, faster synchronization, import-from-URL support, docked mode, data-loading popup integration, and general UI cleanup. • Viewport export: Integrated viewport export directly into the application as a toolbar/overlay tool, added fast render_view_u8-style readback paths, fixed high-resolution clipping issues, improved orthographic export parity, resolved 32K image/video export problems, and added post-export GPU resource cleanup. • Selection and tooling: Added and reworked selection toolbar controls, the Select menu, ring selection, color eyedropper, distance-from-center selection, faster point-cloud and zoomed-out selection paths, Vulkan measurement tool fixes, and drag-and-drop scene graph improvements. • UI/RmlUi platform work: Major RmlUi redesign efforts, hot reloading for RML/RCSS/Python UI files, reactive UI/store integration, viewport toolbar flyouts, improved histogram interactions, input settings enhancements, custom TRS gizmos, and numerous panel, tooltip, and localization fixes. • Windowing and UX: Added borderless window support, title bar drag/maximize/restore behavior, work-area-aware maximize functionality, resize responsiveness and performance improvements, and DPI/UI scaling fixes. • Training and data features: Added adaptive depth loss and depth gradients for the EWA rasterizer, mask loading/application fixes, a new combined Ignore+Segment mask mode, --add-splat, --freeze, improved checkpoint and training state handling, and training speed and VRAM optimizations. • COLMAP/equirectangular support: Added SPHERICAL/equirectangular camera model support and canonical EQUIRECTANGULAR handling, along with fixes for undistortion and camera export. This release will be available to all supporters as a Windows binary via approximately in about an hour. At the same time, LichtFeld Studio remains committed to being free and open source under GPLv3 and can also be built directly from source. Please consider supporting the ongoing development of LichtFeld Studio through a donation via the portal or the supporters page. Thank you to everyone who supports this project financially, contributes code, reports bugs, provides datasets, helps with the website, and contributes in countless other ways. A special thank you to our foundational sponsor Core11 and our Gold Sponsor Volinga, whose support has helped make the current state of the software possible. Thank you as well to every donor and to all of our new Bronze Sponsors. Looking ahead to v0.6 For the next major release, work will focus primarily on stability and user experience. This includes improved cleanup workflows and the ability to modify training parameters while training is in progress. I would also like to introduce a native .licht project format that allows users to save and restore their complete editor state. You can find links to our main sponsors below. Please also visit our website to discover all our Bronze Sponsors. Hint: We do not yet have a Silver Sponsor or Platinum 😉
0:17

Release: LichtFeld Studio v0.5.3 is out! With 316 commits merged into master, this release is a huge step forward for LichtFeld Studio. What's new in v0.5.3 • Vulkan viewer/rendering migration: New Vulkan viewport pipeline, pass graph, VkSplat renderer, Vulkan point-cloud renderer, 3DGUT/VkSplat support, improved alpha/depth composition, tighter CUDA/Vulkan interoperability, and device matching on multi-GPU systems. • RAD + LOD workflow: Added RAD file export/import, RAD LOD viewer, Spark-style GPU LOD selection, GPU-driven page prefetching, a bounded VRAM pool, out-of-core PLY-to-RAD LOD conversion, and RAD import/export speedups of approximately 3–5×. • HiGS / macro-tile inference: Added a macro-tile inference path for the Vulkan viewer, including macro sorting, batched rasterization, composition, and capacity management. • Asset Manager: Added and significantly enhanced the Asset Manager with thumbnails, SH information, faster synchronization, import-from-URL support, docked mode, data-loading popup integration, and general UI cleanup. • Viewport export: Integrated viewport export directly into the application as a toolbar/overlay tool, added fast render_view_u8-style readback paths, fixed high-resolution clipping issues, improved orthographic export parity, resolved 32K image/video export problems, and added post-export GPU resource cleanup. • Selection and tooling: Added and reworked selection toolbar controls, the Select menu, ring selection, color eyedropper, distance-from-center selection, faster point-cloud and zoomed-out selection paths, Vulkan measurement tool fixes, and drag-and-drop scene graph improvements. • UI/RmlUi platform work: Major RmlUi redesign efforts, hot reloading for RML/RCSS/Python UI files, reactive UI/store integration, viewport toolbar flyouts, improved histogram interactions, input settings enhancements, custom TRS gizmos, and numerous panel, tooltip, and localization fixes. • Windowing and UX: Added borderless window support, title bar drag/maximize/restore behavior, work-area-aware maximize functionality, resize responsiveness and performance improvements, and DPI/UI scaling fixes. • Training and data features: Added adaptive depth loss and depth gradients for the EWA rasterizer, mask loading/application fixes, a new combined Ignore+Segment mask mode, --add-splat, --freeze, improved checkpoint and training state handling, and training speed and VRAM optimizations. • COLMAP/equirectangular support: Added SPHERICAL/equirectangular camera model support and canonical EQUIRECTANGULAR handling, along with fixes for undistortion and camera export. This release will be available to all supporters as a Windows binary via approximately in about an hour. At the same time, LichtFeld Studio remains committed to being free and open source under GPLv3 and can also be built directly from source. Please consider supporting the ongoing development of LichtFeld Studio through a donation via the portal or the supporters page. Thank you to everyone who supports this project financially, contributes code, reports bugs, provides datasets, helps with the website, and contributes in countless other ways. A special thank you to our foundational sponsor Core11 and our Gold Sponsor Volinga, whose support has helped make the current state of the software possible. Thank you as well to every donor and to all of our new Bronze Sponsors. Looking ahead to v0.6 For the next major release, work will focus primarily on stability and user experience. This includes improved cleanup workflows and the ability to modify training parameters while training is in progress. I would also like to introduce a native .licht project format that allows users to save and restore their complete editor state. You can find links to our main sponsors below. Please also visit our website to discover all our Bronze Sponsors. Hint: We do not yet have a Silver Sponsor or Platinum 😉

MrNeRF

26,219 просмотров • 2 месяцев назад

Seedance 2.0 Tip: This is how I use grids to give just enough freedom for AI to work with while maintaining a controlled set of moves/techniques. Great for anything that is choreographed. Workflow: Use Grok to generate a list of techniques that you can pick from. choose 9 variations. Use banana to make it into a grid. Specify that the pose in each grid should be at the moment most representative of the tenique. SD2 Prompt: An olympic skater is performing her beautiful fast paced skate choreography. Choose at least 3 moves at random from @图片2 throughout her performance. No stopping between moves. Each move should be sharp and flow smoothly into the next move. Moves must not last longer than 4 seconds each. Emphasize her speed and accuracy of execution with dramatic cuts that shows her facial expression for emotional highlights. Must include at least 1 spin and 1 jump. Camera work should include fast 360 orbits, rapid jet cuts, ECUs to when she lands her jumps, dynamic push/pulls where her skate glides right infront of the camera, or any other that you think would be fitting. Perfect performance of a worldclass skater.
0:15

Seedance 2.0 Tip: This is how I use grids to give just enough freedom for AI to work with while maintaining a controlled set of moves/techniques. Great for anything that is choreographed. Workflow: Use Grok to generate a list of techniques that you can pick from. choose 9 variations. Use banana to make it into a grid. Specify that the pose in each grid should be at the moment most representative of the tenique. SD2 Prompt: An olympic skater is performing her beautiful fast paced skate choreography. Choose at least 3 moves at random from @图片2 throughout her performance. No stopping between moves. Each move should be sharp and flow smoothly into the next move. Moves must not last longer than 4 seconds each. Emphasize her speed and accuracy of execution with dramatic cuts that shows her facial expression for emotional highlights. Must include at least 1 spin and 1 jump. Camera work should include fast 360 orbits, rapid jet cuts, ECUs to when she lands her jumps, dynamic push/pulls where her skate glides right infront of the camera, or any other that you think would be fitting. Perfect performance of a worldclass skater.

Jason W - AI

45,912 просмотров • 5 месяцев назад

I created a dance movement sheet by using a reference image to animate every 16 panels from the reference image I provided. GPT Image 2 + See Dance 2.0 on Yapper Tutorial Below Prompt Here’s every step with the text under each heading: 1. Basic Stance Stand with your feet shoulder-width apart. Relax your knees. Keep your upper body relaxed. Get ready. 2. Step to the Right Step to the right. Move your body in the direction of the step. Keep your knees soft. Keep your gaze forward. 3. Step to the Left Step to the left. Move your body in the direction of the step. Keep your knees soft. Return to the starting position. 4. Two Steps Take two steps in sequence. Step to the right first. Then step to the left. Connect smoothly. 5. Body Wave Start the wave from your chest. Move through your ribs and hips. Finish with your lower body. Make the motion smooth like a wave. 6. Hip Sway Move your hips side to side. Shift your weight with the motion. Use your body naturally. Keep your upper body relaxed. 7. Arm Swing Swing your arms wide. Step to beat with your feet. Coordinate your arms and steps. Return your arms to center. 8. Turn Preparation Prepare for a turn in place. Cross one foot over the other. Use your core to maintain balance. Spot in the direction of the turn. 9. Right Turn Turn to the right. Keep your core engaged. Pivot on the ball of your foot. Spot forward after the turn. 10. Left Turn Turn to the left. Keep your core engaged. Pivot quickly. Keep your posture upright. 11. Jump Up Bend your knees and jump up. Reach your arms overhead. Land softly on your feet. Connect to the next move. 12. Kick Pose Kick your leg forward. Keep your supporting leg stable. Engage your core for balance. Control your landing. 13. Side Lunge Step wide to one side. Bend one knee and lower your body. Keep the other leg straight. Show the direction of your strength. 14. Freeze Pose Hit a strong pose on the beat. Freeze your body momentarily. Create a powerful shape. Show your presence. 15. Finishing Pose Finish the dance gracefully. Keep your balance. Show your confidence. End with a clean, sharp pose. 16. Whole Flow Connect from the basic stance to the finishing pose. The steps, waves, and turns flow naturally together. Express your own style.
0:15

I created a dance movement sheet by using a reference image to animate every 16 panels from the reference image I provided. GPT Image 2 + See Dance 2.0 on Yapper Tutorial Below Prompt Here’s every step with the text under each heading: 1. Basic Stance Stand with your feet shoulder-width apart. Relax your knees. Keep your upper body relaxed. Get ready. 2. Step to the Right Step to the right. Move your body in the direction of the step. Keep your knees soft. Keep your gaze forward. 3. Step to the Left Step to the left. Move your body in the direction of the step. Keep your knees soft. Return to the starting position. 4. Two Steps Take two steps in sequence. Step to the right first. Then step to the left. Connect smoothly. 5. Body Wave Start the wave from your chest. Move through your ribs and hips. Finish with your lower body. Make the motion smooth like a wave. 6. Hip Sway Move your hips side to side. Shift your weight with the motion. Use your body naturally. Keep your upper body relaxed. 7. Arm Swing Swing your arms wide. Step to beat with your feet. Coordinate your arms and steps. Return your arms to center. 8. Turn Preparation Prepare for a turn in place. Cross one foot over the other. Use your core to maintain balance. Spot in the direction of the turn. 9. Right Turn Turn to the right. Keep your core engaged. Pivot on the ball of your foot. Spot forward after the turn. 10. Left Turn Turn to the left. Keep your core engaged. Pivot quickly. Keep your posture upright. 11. Jump Up Bend your knees and jump up. Reach your arms overhead. Land softly on your feet. Connect to the next move. 12. Kick Pose Kick your leg forward. Keep your supporting leg stable. Engage your core for balance. Control your landing. 13. Side Lunge Step wide to one side. Bend one knee and lower your body. Keep the other leg straight. Show the direction of your strength. 14. Freeze Pose Hit a strong pose on the beat. Freeze your body momentarily. Create a powerful shape. Show your presence. 15. Finishing Pose Finish the dance gracefully. Keep your balance. Show your confidence. End with a clean, sharp pose. 16. Whole Flow Connect from the basic stance to the finishing pose. The steps, waves, and turns flow naturally together. Express your own style.

Sharon Riley

54,571 просмотров • 4 месяцев назад

What is Chainlink CCIP? Chainlink's (Chainlink) Cross-Chain Interoperability Protocol, or CCIP, is designed to let applications communicate across different blockchain networks. Put simply, CCIP acts as a secure messaging and transfer layer between otherwise disconnected blockchains. Here's how it works: (1) It moves data between blockchains CCIP allows smart contracts on one blockchain to send messages to smart contracts on another network. That means an application can trigger an action on a different chain without requiring users to manually move between ecosystems. (2) It can transfer tokens across networks CCIP also supports cross-chain token transfers. Projects can use token pools and other mechanisms to move assets between supported chains while maintaining controlled supply across networks. (3) It lets you combine messaging and asset movement A major feature of CCIP is that developers can send arbitrary messages, transfer tokens, or do both in a single cross-chain transaction, rather than needing separate systems for each. (4) It uses Chainlink's decentralized oracle infrastructure CCIP relies on Chainlink's decentralized oracle network to validate and deliver cross-chain messages. The system uses multiple independent components to help verify transactions and protect against failures or manipulation. (5) It adds programmable token transfers CCIP is not limited to simply sending an asset from one chain to another. Developers can attach instructions to transfers, allowing receiving applications to automatically perform actions when tokens arrive. This could make cross-chain lending, payments, trading, and other DeFi applications easier to build. (6) It is designed for multiple blockchain environments CCIP supports communication across different blockchain ecosystems rather than forcing applications to operate within a single network. That matters as liquidity, users, and applications become increasingly fragmented across chains. The bigger idea is simple. Blockchains were originally built as separate networks, but users and capital increasingly need to move between them. CCIP is Chainlink's attempt to provide the infrastructure for that movement. If cross-chain applications continue expanding, secure interoperability could become one of the most important layers in the blockchain stack.
0:15

What is Chainlink CCIP? Chainlink's (Chainlink) Cross-Chain Interoperability Protocol, or CCIP, is designed to let applications communicate across different blockchain networks. Put simply, CCIP acts as a secure messaging and transfer layer between otherwise disconnected blockchains. Here's how it works: (1) It moves data between blockchains CCIP allows smart contracts on one blockchain to send messages to smart contracts on another network. That means an application can trigger an action on a different chain without requiring users to manually move between ecosystems. (2) It can transfer tokens across networks CCIP also supports cross-chain token transfers. Projects can use token pools and other mechanisms to move assets between supported chains while maintaining controlled supply across networks. (3) It lets you combine messaging and asset movement A major feature of CCIP is that developers can send arbitrary messages, transfer tokens, or do both in a single cross-chain transaction, rather than needing separate systems for each. (4) It uses Chainlink's decentralized oracle infrastructure CCIP relies on Chainlink's decentralized oracle network to validate and deliver cross-chain messages. The system uses multiple independent components to help verify transactions and protect against failures or manipulation. (5) It adds programmable token transfers CCIP is not limited to simply sending an asset from one chain to another. Developers can attach instructions to transfers, allowing receiving applications to automatically perform actions when tokens arrive. This could make cross-chain lending, payments, trading, and other DeFi applications easier to build. (6) It is designed for multiple blockchain environments CCIP supports communication across different blockchain ecosystems rather than forcing applications to operate within a single network. That matters as liquidity, users, and applications become increasingly fragmented across chains. The bigger idea is simple. Blockchains were originally built as separate networks, but users and capital increasingly need to move between them. CCIP is Chainlink's attempt to provide the infrastructure for that movement. If cross-chain applications continue expanding, secure interoperability could become one of the most important layers in the blockchain stack.

BSCN

17,376 просмотров • 29 дней назад

"Great minds don’t move alone. When styles collide, you get something untouchable." Created with NemoVideo Prompt: Scene 1 (0:00 – 0:03): Cinematic close-up tracking shot from behind the reference character wearing their signature dark outfit, stepping onto wet asphalt at night, 50mm anamorphic lens, f/1.8 shallow depth of field, sharp puddle reflections, 2700K amber streetlamp rim lighting, smooth gimbal push-in, neo-noir atmosphere, exact character consistency, 35mm film grain, 24fps, 4k resolution, --ar 16:9 Scene 2 (0:03 – 0:06): Low-angle medium tracking shot following the reference character walking down a narrow urban alley, 35mm lens, natural motion blur, maintaining consistent facial features, clothing, and build, deep crushed shadows, soft volumetric steam rising from pavement vents, subtle teal and warm ambient contrast, steadycam forward motion, photorealistic, 24fps, 4k resolution, --ar 16:9 Scene 3 (0:06 – 0:10): Wide establishing shot of the reference character's silhouette walking away into deep shadows of an empty city street at midnight, centered symmetrical composition, 24mm wide-angle lens, long trailing ground shadows, hazy distant headlight flares, slow cinematic push-in, melancholic neo-noir tone, exact outfit and silhouette match, 24fps, 8k resolution, --ar 16:9
0:10

"Great minds don’t move alone. When styles collide, you get something untouchable." Created with NemoVideo Prompt: Scene 1 (0:00 – 0:03): Cinematic close-up tracking shot from behind the reference character wearing their signature dark outfit, stepping onto wet asphalt at night, 50mm anamorphic lens, f/1.8 shallow depth of field, sharp puddle reflections, 2700K amber streetlamp rim lighting, smooth gimbal push-in, neo-noir atmosphere, exact character consistency, 35mm film grain, 24fps, 4k resolution, --ar 16:9 Scene 2 (0:03 – 0:06): Low-angle medium tracking shot following the reference character walking down a narrow urban alley, 35mm lens, natural motion blur, maintaining consistent facial features, clothing, and build, deep crushed shadows, soft volumetric steam rising from pavement vents, subtle teal and warm ambient contrast, steadycam forward motion, photorealistic, 24fps, 4k resolution, --ar 16:9 Scene 3 (0:06 – 0:10): Wide establishing shot of the reference character's silhouette walking away into deep shadows of an empty city street at midnight, centered symmetrical composition, 24mm wide-angle lens, long trailing ground shadows, hazy distant headlight flares, slow cinematic push-in, melancholic neo-noir tone, exact outfit and silhouette match, 24fps, 8k resolution, --ar 16:9

AntonioAI

18,599 просмотров • 11 дней назад

Bedroom chaos turns into midnight confidence with a seamless transition that hits right on the beat. Seedance 2.5 on DomoAI official Prompt FORMAT 10 seconds, 2 shots. Shot 1: Indoor bedroom, 0.0–5.0s. Shot 2: Outdoor night street, 5.0–10.0s. Transition: seamless hard cut exactly on shoe impact. Style: photorealistic live-action, premium cinematic commercial, realistic movement/physics, authentic handheld cinematography. SHOT 1 — INDOOR BEDROOM | 0.0–5.0s ENVIRONMENT Minimalist young woman's @[Image 1](image_1) private bedroom in daylight; clean, modern, intimate, naturally lived-in. Large curtain several meters behind Sharon, simple desk/console farther behind, minimal personal objects and subtle decoration. Enough depth for subject separation. Background softly out of focus; Sharon remains sharp and readable. CAMERA / LIGHTING Eye-level handheld, medium-wide/full-body framing with room for lateral movement and shoe actions, moderate shallow depth of field. Soft natural daylight, natural skin tones, soft highlights, gentle realistic shadows, warm clean atmosphere. Camera is operated physically with Sharon: lateral tracking, short push-in, reactive pull-back, quick pans, tilts and reframing. Never perfectly smooth or automated; movement is quick, light, imperfect and physically motivated by her actions. ACTION + CAMERA 0.0–1.1s — Sharon enters from RIGHT holding TWO SHOES, one in each hand, and walks toward center. Camera: handheld lateral tracking LEFT, physically stepping sideways while keeping medium-wide framing. 1.1–1.8s — Sharon @[Image 1](image_1) stops near center, raises one shoe toward camera as if showing it, then brings it toward her nose. Camera: short handheld push-in; keep face and shoe sharp. 1.8–2.4s — Sharon smells the shoe, immediately recoils with surprised disgust, pulls her face away and gives a short head shake. Camera: small reactive pull-back, then immediately settle toward her face. 2.4–3.0s — Sharon casually throws the first shoe toward the side of the room. Camera: quick reactive pan following the shoe briefly, then fast pan back to Sinta; believable handheld imperfection. 3.0–3.8s — Sharon shifts sideways, focuses on the second shoe, and throws it vertically upward. Camera: tilt up following the shoe; as it reaches the top of its trajectory, quickly tilt back down toward Sinta while keeping awareness of her and the descending shoe. 3.8–4.4s — Sharon tracks the descending shoe with her eyes, adjusts footing, rotates slightly sideways and prepares a high side kick. Camera: short lateral handheld adjustment keeping body and falling shoe in frame; subtle natural Dutch tilt may develop. 4.4–5.0s — Shoe descends into kicking range. Sharon performs a fast, precise HIGH SIDE KICK: leg extends sharply sideways, torso rotates slightly, supporting leg grounded, arms naturally counterbalance, eyes locked on the shoe. Full real-time. Camera: quick handheld lateral reposition and reactive pan following the kick; frame momentarily shifts with the force. EXACT MATCH CUT — 5.0s Hard cut at the exact moment Sharons extended foot contacts the airborne shoe. The kick is still at full speed and the cut happens DURING the action. Outdoor shot continues the same body direction, leg extension, torso rotation and momentum. SHOT 2 — NIGHT / QUIET CITY STREET | 5.0–10.0s ENVIRONMENT Relatively quiet modern urban street at night with broad paved roadway, streetlights, scattered storefronts, illuminated windows, trees, signage and distant buildings creating layered practical lighting. Sparse distant traffic. Spacious, cinematic, quiet. A WHITE SPORT MOTORCYCLE is behind Sinta and slightly toward one SIDE of frame, not centered directly behind her. Open street creates a clear diagonal path from Sharon to the motorcycle. LIGHTING / OUTFIT Naturalistic night lighting: warm streetlights mixed with cooler ambient city illumination, realistic highlights on black riding outfit, natural reflections on white motorcycle and asphalt, cinematic contrast with realistic exposure. Sharon wears a coordinated black-and-white motorcycle riding set: fitted black racing jacket with clean white shoulder/sleeve panels; fitted black short riding pants with subtle white detailing; compact black knee/shin protection; black motorcycle gloves with small white accents; clean white low-top sport sneakers; white crew socks to mid-calf; loose natural hair; no helmet. Motorcycle: white sport motorcycle. CAMERA Handheld kinetic cinematography. Operator physically follows Sharon using diagonal tracking, short arc movement, reactive panning, slight push-in and quick reframing. Never a perfectly programmed path; camera reacts to her changing body direction. ACTION + CAMERA 5.0–5.5s — HARD CUT. Sharon appears outdoors continuing the indoor side kick: kicking leg extended, torso rotated, momentum continuing. White sport motorcycle partially visible behind her toward one side. Camera immediately reacts. Camera: quick handheld pan/reframe catching the continuing kick trajectory. 5.5–6.3s — Sharon lowers her kicking leg naturally and does not stop. She moves DIAGONALLY across frame toward the motorcycle, forward-diagonal rather than straight backward/sideways, gradually turning torso and hips toward it while moving. Camera: handheld diagonal tracking with slight forward tracking plus lateral shift; keep Sharon dominant while motorcycle remains visible near the side. 6.3–7.2s — Sharon continues diagonally; body progressively rotates toward motorcycle. This is a traveling diagonal turn, NOT a stationary turn-in-place. Feet keep carrying her forward while torso rotates. Camera: short handheld arc around Sharon while continuing diagonal tracking; slight angle change and subtle pan to keep her centered; motorcycle remains partially visible at the side. 7.2–8.0s — SLOW MOTION BEGINS. Sharon is already mid-diagonal movement toward motorcycle. Body continues diagonal rotation; loose hair swings naturally; jacket moves with rotation; movement becomes elegant and cinematic. Camera: slightly smoother handheld character, subtle handheld push-in combined with short arc; stay physically close; motorcycle remains visible toward the side. 8.0–8.4s — Gradually return to normal speed. Sharon completes diagonal rotation and now faces motorcycle more directly. Camera: normal handheld movement; quick reframing keeps Sharon and motorcycle visually connected. 8.4–10.0s — Sharon moves confidently toward the white sport motorcycle, purposeful and energetic. Motorcycle stays slightly off-center. Camera: handheld forward tracking, maintaining medium-wide framing, subtle push-in, then small reactive pan toward motorcycle as Sharon reaches it. End with Sharon immediately beside the motorcycle. SPEED PRIORITY 0.0–5.0s: full real-time; shoe throw and high side kick are fast; match cut at full-speed impact. 5.0–7.2s: full real-time immediately after cut. 7.2–8.0s: subtle slow motion only during diagonal body rotation toward motorcycle. 8.0–10.0s: normal real-time. MATCH CUT PRIORITY Cut exactly on impact. Preserve across the cut: leg extension, torso rotation, body orientation, movement direction, screen position and continuous physical momentum. Location, time of day, lighting, wardrobe and motorcycle may change entirely through the hard cut. The transition must feel instantaneous, physical, stylish and seamless. #DomoAI #DomoAICPP
0:10

Bedroom chaos turns into midnight confidence with a seamless transition that hits right on the beat. Seedance 2.5 on DomoAI official Prompt FORMAT 10 seconds, 2 shots. Shot 1: Indoor bedroom, 0.0–5.0s. Shot 2: Outdoor night street, 5.0–10.0s. Transition: seamless hard cut exactly on shoe impact. Style: photorealistic live-action, premium cinematic commercial, realistic movement/physics, authentic handheld cinematography. SHOT 1 — INDOOR BEDROOM | 0.0–5.0s ENVIRONMENT Minimalist young woman's @[Image 1](image_1) private bedroom in daylight; clean, modern, intimate, naturally lived-in. Large curtain several meters behind Sharon, simple desk/console farther behind, minimal personal objects and subtle decoration. Enough depth for subject separation. Background softly out of focus; Sharon remains sharp and readable. CAMERA / LIGHTING Eye-level handheld, medium-wide/full-body framing with room for lateral movement and shoe actions, moderate shallow depth of field. Soft natural daylight, natural skin tones, soft highlights, gentle realistic shadows, warm clean atmosphere. Camera is operated physically with Sharon: lateral tracking, short push-in, reactive pull-back, quick pans, tilts and reframing. Never perfectly smooth or automated; movement is quick, light, imperfect and physically motivated by her actions. ACTION + CAMERA 0.0–1.1s — Sharon enters from RIGHT holding TWO SHOES, one in each hand, and walks toward center. Camera: handheld lateral tracking LEFT, physically stepping sideways while keeping medium-wide framing. 1.1–1.8s — Sharon @[Image 1](image_1) stops near center, raises one shoe toward camera as if showing it, then brings it toward her nose. Camera: short handheld push-in; keep face and shoe sharp. 1.8–2.4s — Sharon smells the shoe, immediately recoils with surprised disgust, pulls her face away and gives a short head shake. Camera: small reactive pull-back, then immediately settle toward her face. 2.4–3.0s — Sharon casually throws the first shoe toward the side of the room. Camera: quick reactive pan following the shoe briefly, then fast pan back to Sinta; believable handheld imperfection. 3.0–3.8s — Sharon shifts sideways, focuses on the second shoe, and throws it vertically upward. Camera: tilt up following the shoe; as it reaches the top of its trajectory, quickly tilt back down toward Sinta while keeping awareness of her and the descending shoe. 3.8–4.4s — Sharon tracks the descending shoe with her eyes, adjusts footing, rotates slightly sideways and prepares a high side kick. Camera: short lateral handheld adjustment keeping body and falling shoe in frame; subtle natural Dutch tilt may develop. 4.4–5.0s — Shoe descends into kicking range. Sharon performs a fast, precise HIGH SIDE KICK: leg extends sharply sideways, torso rotates slightly, supporting leg grounded, arms naturally counterbalance, eyes locked on the shoe. Full real-time. Camera: quick handheld lateral reposition and reactive pan following the kick; frame momentarily shifts with the force. EXACT MATCH CUT — 5.0s Hard cut at the exact moment Sharons extended foot contacts the airborne shoe. The kick is still at full speed and the cut happens DURING the action. Outdoor shot continues the same body direction, leg extension, torso rotation and momentum. SHOT 2 — NIGHT / QUIET CITY STREET | 5.0–10.0s ENVIRONMENT Relatively quiet modern urban street at night with broad paved roadway, streetlights, scattered storefronts, illuminated windows, trees, signage and distant buildings creating layered practical lighting. Sparse distant traffic. Spacious, cinematic, quiet. A WHITE SPORT MOTORCYCLE is behind Sinta and slightly toward one SIDE of frame, not centered directly behind her. Open street creates a clear diagonal path from Sharon to the motorcycle. LIGHTING / OUTFIT Naturalistic night lighting: warm streetlights mixed with cooler ambient city illumination, realistic highlights on black riding outfit, natural reflections on white motorcycle and asphalt, cinematic contrast with realistic exposure. Sharon wears a coordinated black-and-white motorcycle riding set: fitted black racing jacket with clean white shoulder/sleeve panels; fitted black short riding pants with subtle white detailing; compact black knee/shin protection; black motorcycle gloves with small white accents; clean white low-top sport sneakers; white crew socks to mid-calf; loose natural hair; no helmet. Motorcycle: white sport motorcycle. CAMERA Handheld kinetic cinematography. Operator physically follows Sharon using diagonal tracking, short arc movement, reactive panning, slight push-in and quick reframing. Never a perfectly programmed path; camera reacts to her changing body direction. ACTION + CAMERA 5.0–5.5s — HARD CUT. Sharon appears outdoors continuing the indoor side kick: kicking leg extended, torso rotated, momentum continuing. White sport motorcycle partially visible behind her toward one side. Camera immediately reacts. Camera: quick handheld pan/reframe catching the continuing kick trajectory. 5.5–6.3s — Sharon lowers her kicking leg naturally and does not stop. She moves DIAGONALLY across frame toward the motorcycle, forward-diagonal rather than straight backward/sideways, gradually turning torso and hips toward it while moving. Camera: handheld diagonal tracking with slight forward tracking plus lateral shift; keep Sharon dominant while motorcycle remains visible near the side. 6.3–7.2s — Sharon continues diagonally; body progressively rotates toward motorcycle. This is a traveling diagonal turn, NOT a stationary turn-in-place. Feet keep carrying her forward while torso rotates. Camera: short handheld arc around Sharon while continuing diagonal tracking; slight angle change and subtle pan to keep her centered; motorcycle remains partially visible at the side. 7.2–8.0s — SLOW MOTION BEGINS. Sharon is already mid-diagonal movement toward motorcycle. Body continues diagonal rotation; loose hair swings naturally; jacket moves with rotation; movement becomes elegant and cinematic. Camera: slightly smoother handheld character, subtle handheld push-in combined with short arc; stay physically close; motorcycle remains visible toward the side. 8.0–8.4s — Gradually return to normal speed. Sharon completes diagonal rotation and now faces motorcycle more directly. Camera: normal handheld movement; quick reframing keeps Sharon and motorcycle visually connected. 8.4–10.0s — Sharon moves confidently toward the white sport motorcycle, purposeful and energetic. Motorcycle stays slightly off-center. Camera: handheld forward tracking, maintaining medium-wide framing, subtle push-in, then small reactive pan toward motorcycle as Sharon reaches it. End with Sharon immediately beside the motorcycle. SPEED PRIORITY 0.0–5.0s: full real-time; shoe throw and high side kick are fast; match cut at full-speed impact. 5.0–7.2s: full real-time immediately after cut. 7.2–8.0s: subtle slow motion only during diagonal body rotation toward motorcycle. 8.0–10.0s: normal real-time. MATCH CUT PRIORITY Cut exactly on impact. Preserve across the cut: leg extension, torso rotation, body orientation, movement direction, screen position and continuous physical momentum. Location, time of day, lighting, wardrobe and motorcycle may change entirely through the hard cut. The transition must feel instantaneous, physical, stylish and seamless. #DomoAI #DomoAICPP

Sharon Riley

28,768 просмотров • 5 дней назад

how to prompt undetectable ai shots while designing a running scene, first think about these 3 basic questions: how does the camera move? what is it looking at? where does it stop? a good motion prompt is really just a timeline it needs to follow real-world physics, and it needs to carry story at the same time 1. start with the narrative goal of the shot camera movement is not just movement it is the storytelling so before writing the prompt, define what the shot is trying to do for example, in a 15-second one take, the goal could be: follow the female lead laterally while she runs, to build speed and tension then briefly reveal the people chasing her then let the camera hesitate for a moment and find her again that small “lose and recapture” moment adds spatial depth and makes the chase feel more intense 2. build a clear space for the camera to work in if the space is vague, the shot gets messy very fast i like breaking the scene into layers so the model knows where everything belongs foreground: passing objects, environmental motion main subject layer: the woman running midground: cafe tables, pedestrians, the people chasing her background: the vanishing point of the street, and the entrance to the pedestrian area once the space is clear, the camera has a stage to move through 3. describe motion like a physical process a good moving shot has to respect inertia if the movement feels weightless or too perfect, it instantly feels fake so instead of using broad words, describe a chain of actions the camera can actually perform what accelerates what slows down when it adjusts when it slightly overshoots when it catches itself again that little bit of imperfection is usually what makes it feel real 4. use focus as part of the storytelling in a one take, focus is one of the best ways to guide attention you can design moments where focus shifts with intention for example: focus briefly drifts from the chasers’ faces, passes beyond them, lands on the woman in the distance, then quickly pulls back again it feels like a small mistake, but that’s exactly why it works it simulates a camera operator re-evaluating the subject in the middle of a fast-moving shot that kind of temporary focus loss and recovery adds a lot of immediacy and documentary feeling 5. build the sound space with the camera sound should move with the shot when the camera turns toward the chasers, the woman’s breathing should fall deeper into the sound field, while the chasers’ footsteps and breathing move to the center when the camera finds the woman again, her breath becomes the main sound again that shift in audio perspective helps the scene feel much more immersive it’s not just about what we see it’s also about where we feel the scene from 6. use negative constraints to stop common ai mistakes this part matters a lot i usually add clear “don’ts” at the end to stop the model from breaking the shot for example: no cuts no teleporting zooms no sliding characters no body fusion no floating props the travel bag must keep believable weight and inertia these negative constraints act like guardrails they help keep the result inside a believable physical world for me, the core of a strong motion prompt is simple: organize space, camera, focus, action, and sound into one executable timeline that’s really the difference instead of prompting a vague feeling, you’re designing a physical process and that’s usually what helps ai generate a moving shot that feels coherent, grounded, and full of tension
0:15

how to prompt undetectable ai shots while designing a running scene, first think about these 3 basic questions: how does the camera move? what is it looking at? where does it stop? a good motion prompt is really just a timeline it needs to follow real-world physics, and it needs to carry story at the same time 1. start with the narrative goal of the shot camera movement is not just movement it is the storytelling so before writing the prompt, define what the shot is trying to do for example, in a 15-second one take, the goal could be: follow the female lead laterally while she runs, to build speed and tension then briefly reveal the people chasing her then let the camera hesitate for a moment and find her again that small “lose and recapture” moment adds spatial depth and makes the chase feel more intense 2. build a clear space for the camera to work in if the space is vague, the shot gets messy very fast i like breaking the scene into layers so the model knows where everything belongs foreground: passing objects, environmental motion main subject layer: the woman running midground: cafe tables, pedestrians, the people chasing her background: the vanishing point of the street, and the entrance to the pedestrian area once the space is clear, the camera has a stage to move through 3. describe motion like a physical process a good moving shot has to respect inertia if the movement feels weightless or too perfect, it instantly feels fake so instead of using broad words, describe a chain of actions the camera can actually perform what accelerates what slows down when it adjusts when it slightly overshoots when it catches itself again that little bit of imperfection is usually what makes it feel real 4. use focus as part of the storytelling in a one take, focus is one of the best ways to guide attention you can design moments where focus shifts with intention for example: focus briefly drifts from the chasers’ faces, passes beyond them, lands on the woman in the distance, then quickly pulls back again it feels like a small mistake, but that’s exactly why it works it simulates a camera operator re-evaluating the subject in the middle of a fast-moving shot that kind of temporary focus loss and recovery adds a lot of immediacy and documentary feeling 5. build the sound space with the camera sound should move with the shot when the camera turns toward the chasers, the woman’s breathing should fall deeper into the sound field, while the chasers’ footsteps and breathing move to the center when the camera finds the woman again, her breath becomes the main sound again that shift in audio perspective helps the scene feel much more immersive it’s not just about what we see it’s also about where we feel the scene from 6. use negative constraints to stop common ai mistakes this part matters a lot i usually add clear “don’ts” at the end to stop the model from breaking the shot for example: no cuts no teleporting zooms no sliding characters no body fusion no floating props the travel bag must keep believable weight and inertia these negative constraints act like guardrails they help keep the result inside a believable physical world for me, the core of a strong motion prompt is simple: organize space, camera, focus, action, and sound into one executable timeline that’s really the difference instead of prompting a vague feeling, you’re designing a physical process and that’s usually what helps ai generate a moving shot that feels coherent, grounded, and full of tension

el.cine

14,644 просмотров • 1 месяц назад

Olaf is one of the STRONGEST JUNGLERS right now After 4 (yes FOUR!) Olaf jungle buffs, this champion is broken 2:24 Fullclear (1 smite) with E start on blue - 2 Points in Q for fastest clear, can take W at 3 if scared of invasion - can get below 2:30 1 smite easily every game - Base for Longsword + Ruby or Cloth, and contest crab with items Olaf has one of the fastest clears, but also one of the strongest level 1s as well... Which means vs weak lvl 1 champs, you can run into their jungle lvl 1 with Q start and there is nothing they can do Contrary to popular belief, Olaf is one of the best scaling champions in the entire game But only if you build him correctly (critlaf) BUILD + RUNES GUIDE: Green smite every game Conqueror every game Triumph Alacrity Last stand Magical Footwear Approach Velocity AD/AD/HPS (can swap out 2nd AD for MS if you want to be freaky) 1st item: Stridebreaker / DD - Most games go stridebreaker 1st, he is the best stridebreaker user in the game and this item really enables your champ into the lategame - Vs heavy AD comps, or AD assassin junglers, rushing DD is best 2nd item: DD / Stridebreaker 3rd item: FIENDHUNTER BOLTS - The absolute best item on Olaf - Guaranteed crits + R AD steroid + IMMUNITY TO ALL CC 4th item: LDR / Mortal Reminder / Shieldbow - LDR is best, as giant slayer passive is broken on critlaf - Shieldbow (or any lifeline item) has great synergy with Olaf passive, as the EHP you get from shields doesn't count for your passive HP threshold Cap items: Infinity Edge, Any lifeline item, Any bruiser item, Literally anything - Selling boots for PD is nice when games go extremely long as well IMPORTANT: You play this champion to reach 3 items ASAP - this means going 10cspm and ignoring ur silly laners - oh you also one shot objectives with E lol - and perma invade after fullclear - Make sure to save W for when you are lower HP, also make sure to use it as an auto reset - Careful of level 3 invade though, Olaf gets very low while clearing (bc your E costs HP), so if you suspect an invade, skip 2nd buff and can also level W at level 3 Happy Critlaffing!
0:16

Olaf is one of the STRONGEST JUNGLERS right now After 4 (yes FOUR!) Olaf jungle buffs, this champion is broken 2:24 Fullclear (1 smite) with E start on blue - 2 Points in Q for fastest clear, can take W at 3 if scared of invasion - can get below 2:30 1 smite easily every game - Base for Longsword + Ruby or Cloth, and contest crab with items Olaf has one of the fastest clears, but also one of the strongest level 1s as well... Which means vs weak lvl 1 champs, you can run into their jungle lvl 1 with Q start and there is nothing they can do Contrary to popular belief, Olaf is one of the best scaling champions in the entire game But only if you build him correctly (critlaf) BUILD + RUNES GUIDE: Green smite every game Conqueror every game Triumph Alacrity Last stand Magical Footwear Approach Velocity AD/AD/HPS (can swap out 2nd AD for MS if you want to be freaky) 1st item: Stridebreaker / DD - Most games go stridebreaker 1st, he is the best stridebreaker user in the game and this item really enables your champ into the lategame - Vs heavy AD comps, or AD assassin junglers, rushing DD is best 2nd item: DD / Stridebreaker 3rd item: FIENDHUNTER BOLTS - The absolute best item on Olaf - Guaranteed crits + R AD steroid + IMMUNITY TO ALL CC 4th item: LDR / Mortal Reminder / Shieldbow - LDR is best, as giant slayer passive is broken on critlaf - Shieldbow (or any lifeline item) has great synergy with Olaf passive, as the EHP you get from shields doesn't count for your passive HP threshold Cap items: Infinity Edge, Any lifeline item, Any bruiser item, Literally anything - Selling boots for PD is nice when games go extremely long as well IMPORTANT: You play this champion to reach 3 items ASAP - this means going 10cspm and ignoring ur silly laners - oh you also one shot objectives with E lol - and perma invade after fullclear - Make sure to save W for when you are lower HP, also make sure to use it as an auto reset - Careful of level 3 invade though, Olaf gets very low while clearing (bc your E costs HP), so if you suspect an invade, skip 2nd buff and can also level W at level 3 Happy Critlaffing!

Huncho ➡️twtv/huncho

366,104 просмотров • 16 дней назад

Made with seedance 2.5 Prompt: Create ONE continuous 12-second, 9:16, ultra-photorealistic LIVE-ACTION luxury fashion film. IMPORTANT REFERENCE MAPPING: REFERENCE Image = PRIMARY CHARACTER. Use the FIRST uploaded reference image of the woman. REFERENCE image2 = ENVIRONMENT. Use the SECOND uploaded reference image of the square. REFERENCE David Carbon = HERO OBJECT. Use the THIRD uploaded reference image of the sunglasses. Do NOT refer to these images as Image, image2 or David Carbon. Use the reference images according to their upload order. CHARACTER — REFERENCE IMAGE 1 Preserve the exact woman from REFERENCE IMAGE 1 throughout the entire video: same facial identity, facial structure, natural eyes, hairstyle, body proportions, skin appearance, clothing, footwear, jewelry, accessories and overall appearance. Do not copy the original background from REFERENCE IMAGE 1. The protagonist is the ONLY main character. ENVIRONMENT — REFERENCE IMAGE 2 Use REFERENCE IMAGE 2 only for visual language: architecture, atmosphere, warm sunset lighting, materials, monumental scale and cobblestone character. Create a NEW believable cinematic pedestrian space inspired by it. Do NOT reproduce its exact composition, exact camera angle or exact street layout. Provide enough open pedestrian space for natural walking and the collision. Respect real-world spatial logic: pedestrians remain in pedestrian areas, architecture has realistic scale and perspective, no impossible geometry. HERO OBJECT — REFERENCE IMAGE 3 The sunglasses shown in REFERENCE IMAGE 3 are the ONE and ONLY HERO OBJECT. Preserve their recognizable: shape, proportions, oversized shield silhouette, dark continuous lens, thin metallic/gold frame, temples, hinge construction, surface details, colour and material. The SAME physical sunglasses must remain recognizable: when worn by the protagonist, when released, during bullet-time macro inspection, and after landing. Do not redesign, replace, duplicate or regenerate the sunglasses. EXACT OBJECT COUNT Exactly: ONE protagonist. ONE secondary passing person. ONE Labrador. ONE leash. ONE pair of sunglasses from REFERENCE IMAGE 3. ONE takeaway paper coffee cup. ONE plastic drinking lid. ONE silver-grey OPEN clamshell flip phone. No duplicate objects or people. PERSISTENT PHONE There is exactly ONE phone in the entire video. It is a compact early-2000s silver-grey OPEN clamshell flip phone. Upper half: small illuminated display and speaker. Lower half: physical numeric keypad, navigation buttons and microphone. Visible central mechanical hinge. LOCK its appearance throughout: same silver-grey colour, same dimensions, same thickness, same hinge, same display, same keypad, same buttons, same open angle. The same phone is seen in wide, medium and macro shots. It never transforms into another phone. PERSISTENT COFFEE Exactly ONE medium disposable PAPER coffee cup with ONE lightweight plastic drinking lid and dark coffee inside. Same cup, same lid, same coffee and same proportions throughout. Before collision the lid is properly attached. Coffee remains inside until a real physical opening appears. HAND OWNERSHIP Before collision: RIGHT HAND = ONE OPEN flip phone held to the RIGHT ear. LEFT HAND = ONE coffee cup. Sunglasses = naturally worn by the protagonist. After collision: RIGHT HAND = COMPLETELY EMPTY. LEFT HAND = COMPLETELY EMPTY. Nothing replaces the phone or cup. Nothing remains attached to either palm. 0.0–2.0s — CINEMATIC CHARACTER REVEAL Begin with an extreme low close-up of the protagonist’s black leather heeled boots walking naturally across the pedestrian space. Camera performs ONE elegant continuous movement: smooth crane upward + gentle backward tracking. Reveal progressively: boots → legs → ripped light-blue baggy jeans → black corset → white tank top → jewelry/accessories → sunglasses → face → nearly full body. The protagonist wears the SAME sunglasses from REFERENCE IMAGE 3. She holds the SAME OPEN silver-grey flip phone to her RIGHT ear and the SAME coffee cup in her LEFT hand. She is actively having a phone conversation. Show subtle realistic speech: natural lip movement, jaw movement and mouth articulation. Maintain exact identity from REFERENCE IMAGE 1. Premium live-action fashion cinematography. 2.0–3.7s — WALKING / SECONDARY PERSON Maintain smooth frontal tracking. The protagonist continues walking naturally through the pedestrian area. Exactly ONE secondary person approaches from the opposite direction. That person holds exactly ONE leash attached to exactly ONE Labrador. The Labrador walks slightly ahead and gently pulls the person forward. They remain background/supporting elements. Maintain: stable protagonist identity, stable hairstyle, stable clothing, stable sunglasses, same phone, same coffee. 3.7–4.4s — ACCIDENTAL COLLISION As they pass each other, the secondary person’s ELBOW accidentally clips the protagonist’s arm/upper torso. Small, accidental, believable contact. The protagonist naturally recoils backward. This SAME collision causes THREE physical release events. SUNGLASSES The sunglasses from REFERENCE IMAGE 3 receive ONE short realistic outward impulse. They separate naturally from the protagonist’s face. They travel only a short physically believable distance. They do NOT fly toward the camera. COFFEE The SAME coffee cup leaves the LEFT hand. It receives one short outward/downward rotational impulse. The cup tilts and rotates. Because of the rotation and liquid inertia, ONE EDGE of the lightweight plastic lid partially pops loose from the cup rim. The lid does not disappear and does not explode away. A real physical gap forms between lid and rim. ONLY THEN does dark coffee begin escaping through this opening. Initial liquid movement is restrained. PHONE The SAME OPEN clamshell phone leaves the RIGHT hand. It receives one short outward/upward impulse. It keeps the SAME open angle and physical design. The instant it separates from the fingers: RIGHT HAND = EMPTY. The instant the cup separates: LEFT HAND = EMPTY. FACE / HAIR CONTINUITY Preserve the exact face from REFERENCE IMAGE 1 during the entire collision. The natural human eyes already exist behind the sunglasses. When the sunglasses separate, reveal the SAME normal eyes: stable pupils, eyelids, gaze direction, brows, nose, cheekbones and facial symmetry. Do not regenerate or alter the face. Hair remains stable with only subtle realistic inertia. No sudden hairstyle change. 4.4–5.2s — BULLET-TIME ESTABLISHMENT Time decelerates dramatically to approximately 2–3% normal speed. DO NOT immediately go into macro. FIRST show a clear medium-wide frozen view of the entire accident. The protagonist is beginning to fall backward. BOTH HANDS ARE EMPTY. Establish fixed WORLD-SPACE anchors: • sunglasses suspended near their release position; • coffee cup suspended lower and toward the LEFT-hand release side; • partially detached lid still connected to or immediately beside the cup; • restrained coffee beginning to escape through the opening; • OPEN flip phone suspended toward the RIGHT-hand release side. Objects move only microscopically. They do NOT move toward the camera. The CAMERA is the main moving element. 5.2–6.8s — SUNGLASSES HERO INSPECTION The sunglasses remain almost completely stationary at their existing world-space position. CAMERA physically dollies toward them. The sunglasses become larger ONLY because the camera gets closer. Once close, slow the camera dramatically. HOLD. Perform a restrained 20–30 degree camera orbit/parallax around the almost-stationary sunglasses. Reveal: dark shield lens, thin metallic/gold frame, temples, hinges, edges, material thickness, surface reflections, tiny manufacturing details. Use shallow photographic macro depth of field. The protagonist and sunset environment remain softly recognizable in the background. The sunglasses must look like a real luxury fashion accessory photographed with a macro cinema lens, NOT CGI product animation. Complete the inspection before moving away. 6.8–8.3s — COFFEE / LIQUID INSPECTION Only after completing the sunglasses inspection, the CAMERA leaves them at their existing world-space position. Travel diagonally through the frozen scene toward the SAME coffee cup. THE CUP DOES NOT MOVE TOWARD THE CAMERA. Hold a photographic macro close-up. Show: same paper cup, same lightweight plastic lid, ONE partially detached lid edge, clear physical gap, dark coffee escaping ONLY through that gap. Real restrained liquid physics: thin irregular stream, imperfect liquid sheet, several differently sized droplets, realistic surface tension, natural reflections. No explosive splash. No decorative CGI liquid. No perfect artificial shapes. Coffee advances only microscopically during bullet time. Perform a small restrained lateral/parallax camera movement around the cup, lid and droplets. HOLD long enough to see paper texture, plastic texture, liquid thickness and individual droplets. 8.3–9.8s — FLIP PHONE INSPECTION Only after coffee inspection, the CAMERA travels away from the cup. The cup, lid and droplets remain at their existing world-space positions. CAMERA moves through the same frozen scene toward the SINGLE OPEN silver-grey clamshell phone. THE PHONE DOES NOT MOVE TOWARD THE CAMERA. First establish the complete phone silhouette: same silver-grey housing, same upper display, same lower keypad, same central hinge, same open angle. Then CAMERA physically approaches the existing upper display. Extreme photographic macro close-up. The illuminated display reads: BOSS with one small realistic phone number underneath. HOLD. Show: real housing material, hinge, keypad texture, small scratches, surface wear, screen reflections. The phone does NOT transform to reveal its screen. It is the SAME phone seen from the beginning. The protagonist’s RIGHT HAND remains completely EMPTY in the background. 9.8–10.4s — COMPLETE FROZEN TABLEAU After phone inspection, CAMERA performs a fast but perfectly smooth dolly backward. All objects remain at their existing world-space positions. Reveal: same protagonist falling backward, both hands empty, same sunglasses, same coffee cup, same partially detached lid, same suspended coffee droplets, same OPEN flip phone, exactly one secondary person, exactly one Labrador. All positions must remain spatially consistent with the original collision and release trajectories. No object follows the camera. No object teleports. No object regenerates. Brief HOLD on the complete frozen tableau. 10.4–12.0s — TIME RETURNS / PHYSICAL PAYOFF Time suddenly snaps back to normal speed. Gravity and existing momentum resume simultaneously. Every object continues FROM ITS EXISTING WORLD-SPACE POSITION. The protagonist completes her backward fall naturally. The sunglasses continue from their suspended position and land according to their existing momentum and gravity. The coffee cup continues from its own separate position, impacts the cobblestone ground, the partially detached lid reacts naturally, and remaining coffee spills irregularly through the real opening and impact point. The OPEN flip phone continues from its own separate position, hits the ground and makes ONE small physically believable bounce. Objects land at DIFFERENT plausible locations. They do NOT suddenly converge beside the protagonist. CAMERA rapidly tilts/drops toward ground level to follow the final impacts. Finish with a cinematic low-angle composition showing the fallen protagonist and the scattered objects within the same believable sunset environment. Hard cut. BULLET-TIME CAMERA RULE — NON-NEGOTIABLE BULLET TIME = ALMOST-FROZEN PHYSICAL WORLD + FREELY MOVING CAMERA. Objects stay in WORLD SPACE. Camera moves through WORLD SPACE. Close-up is created ONLY by reducing camera-to-object distance. Never: move objects toward the lens, artificially enlarge objects, teleport objects, regenerate macro versions. STRICT CAMERA ROUTE: FULL FROZEN TABLEAU → CAMERA DOLLIES TO SUNGLASSES → HOLD → 20–30° CAMERA ORBIT → CAMERA TRAVELS TO COFFEE → HOLD → SMALL CAMERA PARALLAX → CAMERA TRAVELS TO PHONE → ESTABLISH COMPLETE PHONE → MOVE TO DISPLAY → HOLD → CAMERA DOLLIES BACK TO COMPLETE TABLEAU → TIME RETURNS CONTINUITY / CAUSALITY Wide shot → medium shot → macro shot = SAME physical object viewed from different camera distances. Sunglasses: same object, same design, same trajectory, same world-space identity. Coffee: same cup, same lid, same coffee, same rotation, same world-space identity. Phone: same open clamshell phone, same housing, hinge, keypad, display, open angle and world-space identity. Every visible change must have a physical cause. Collision causes recoil. Collision momentum separates sunglasses. Finger release changes phone position. Hand release + collision momentum rotates cup. Cup rotation/liquid inertia partially opens lid. Coffee escapes only through the physical gap. Camera movement creates apparent object scale. Gravity resumes final fall. Treat the entire sequence as ONE continuous practical-effects event photographed with a motion-control cinema camera. IDENTITY / PROP LOCK ONE protagonist. ONE secondary person. ONE Labrador. ONE leash. ONE pair of sunglasses. ONE coffee cup. ONE lid. ONE OPEN flip phone. Before collision: RIGHT HAND = phone. LEFT HAND = coffee. Sunglasses = worn. After collision: RIGHT HAND = EMPTY. LEFT HAND = EMPTY. Sunglasses = separated. No second phone. No second cup. No second sunglasses. No additional dog. No additional person. No unexplained props. No duplication. No teleportation. No unexplained scale changes. VISUAL PRIORITY 1. exact protagonist identity from REFERENCE IMAGE 1 2. natural eyes and facial anatomy 3. stable hairstyle and body proportions 4. exact clothing and accessories 5. exact sunglasses from REFERENCE IMAGE 3 6. stable phone geometry 7. empty hands after release 8. continuous physical trajectories 9. realistic environment inspired by REFERENCE IMAGE 2 PHOTOGRAPHIC REALISM Ultra-photorealistic LIVE-ACTION. High-budget international luxury fashion campaign. Real human anatomy. Natural skin pores. Natural facial micro-expressions. Detailed realistic hair. Real manufactured sunglasses. Real paper cup. Real plastic lid. Real liquid coffee. Real early-2000s flip phone. Real object mass, inertia, gravity, momentum and surface tension. ARRI Alexa 35 cinematic character. Premium cinema optics. Motivated sunset lighting inspired by REFERENCE IMAGE 2. Controlled highlights. Natural skin tones. Realistic optical depth of field. Shallow macro depth of field during object inspections. Subtle 35mm film texture. Restrained luxury editorial colour grade. Natural colours. Sharp optical clarity. Cinematic photographic texture. Bullet-time must feel like REAL high-speed practical photography with a motion-control cinema camera, NOT CGI product animation. 4K / Ultra HD. Maximum facial detail. Maximum hair detail. Maximum material fidelity. Stable identity. Stable geometry. Stable prop continuity.
0:12

Made with seedance 2.5 Prompt: Create ONE continuous 12-second, 9:16, ultra-photorealistic LIVE-ACTION luxury fashion film. IMPORTANT REFERENCE MAPPING: REFERENCE Image = PRIMARY CHARACTER. Use the FIRST uploaded reference image of the woman. REFERENCE image2 = ENVIRONMENT. Use the SECOND uploaded reference image of the square. REFERENCE David Carbon = HERO OBJECT. Use the THIRD uploaded reference image of the sunglasses. Do NOT refer to these images as Image, image2 or David Carbon. Use the reference images according to their upload order. CHARACTER — REFERENCE IMAGE 1 Preserve the exact woman from REFERENCE IMAGE 1 throughout the entire video: same facial identity, facial structure, natural eyes, hairstyle, body proportions, skin appearance, clothing, footwear, jewelry, accessories and overall appearance. Do not copy the original background from REFERENCE IMAGE 1. The protagonist is the ONLY main character. ENVIRONMENT — REFERENCE IMAGE 2 Use REFERENCE IMAGE 2 only for visual language: architecture, atmosphere, warm sunset lighting, materials, monumental scale and cobblestone character. Create a NEW believable cinematic pedestrian space inspired by it. Do NOT reproduce its exact composition, exact camera angle or exact street layout. Provide enough open pedestrian space for natural walking and the collision. Respect real-world spatial logic: pedestrians remain in pedestrian areas, architecture has realistic scale and perspective, no impossible geometry. HERO OBJECT — REFERENCE IMAGE 3 The sunglasses shown in REFERENCE IMAGE 3 are the ONE and ONLY HERO OBJECT. Preserve their recognizable: shape, proportions, oversized shield silhouette, dark continuous lens, thin metallic/gold frame, temples, hinge construction, surface details, colour and material. The SAME physical sunglasses must remain recognizable: when worn by the protagonist, when released, during bullet-time macro inspection, and after landing. Do not redesign, replace, duplicate or regenerate the sunglasses. EXACT OBJECT COUNT Exactly: ONE protagonist. ONE secondary passing person. ONE Labrador. ONE leash. ONE pair of sunglasses from REFERENCE IMAGE 3. ONE takeaway paper coffee cup. ONE plastic drinking lid. ONE silver-grey OPEN clamshell flip phone. No duplicate objects or people. PERSISTENT PHONE There is exactly ONE phone in the entire video. It is a compact early-2000s silver-grey OPEN clamshell flip phone. Upper half: small illuminated display and speaker. Lower half: physical numeric keypad, navigation buttons and microphone. Visible central mechanical hinge. LOCK its appearance throughout: same silver-grey colour, same dimensions, same thickness, same hinge, same display, same keypad, same buttons, same open angle. The same phone is seen in wide, medium and macro shots. It never transforms into another phone. PERSISTENT COFFEE Exactly ONE medium disposable PAPER coffee cup with ONE lightweight plastic drinking lid and dark coffee inside. Same cup, same lid, same coffee and same proportions throughout. Before collision the lid is properly attached. Coffee remains inside until a real physical opening appears. HAND OWNERSHIP Before collision: RIGHT HAND = ONE OPEN flip phone held to the RIGHT ear. LEFT HAND = ONE coffee cup. Sunglasses = naturally worn by the protagonist. After collision: RIGHT HAND = COMPLETELY EMPTY. LEFT HAND = COMPLETELY EMPTY. Nothing replaces the phone or cup. Nothing remains attached to either palm. 0.0–2.0s — CINEMATIC CHARACTER REVEAL Begin with an extreme low close-up of the protagonist’s black leather heeled boots walking naturally across the pedestrian space. Camera performs ONE elegant continuous movement: smooth crane upward + gentle backward tracking. Reveal progressively: boots → legs → ripped light-blue baggy jeans → black corset → white tank top → jewelry/accessories → sunglasses → face → nearly full body. The protagonist wears the SAME sunglasses from REFERENCE IMAGE 3. She holds the SAME OPEN silver-grey flip phone to her RIGHT ear and the SAME coffee cup in her LEFT hand. She is actively having a phone conversation. Show subtle realistic speech: natural lip movement, jaw movement and mouth articulation. Maintain exact identity from REFERENCE IMAGE 1. Premium live-action fashion cinematography. 2.0–3.7s — WALKING / SECONDARY PERSON Maintain smooth frontal tracking. The protagonist continues walking naturally through the pedestrian area. Exactly ONE secondary person approaches from the opposite direction. That person holds exactly ONE leash attached to exactly ONE Labrador. The Labrador walks slightly ahead and gently pulls the person forward. They remain background/supporting elements. Maintain: stable protagonist identity, stable hairstyle, stable clothing, stable sunglasses, same phone, same coffee. 3.7–4.4s — ACCIDENTAL COLLISION As they pass each other, the secondary person’s ELBOW accidentally clips the protagonist’s arm/upper torso. Small, accidental, believable contact. The protagonist naturally recoils backward. This SAME collision causes THREE physical release events. SUNGLASSES The sunglasses from REFERENCE IMAGE 3 receive ONE short realistic outward impulse. They separate naturally from the protagonist’s face. They travel only a short physically believable distance. They do NOT fly toward the camera. COFFEE The SAME coffee cup leaves the LEFT hand. It receives one short outward/downward rotational impulse. The cup tilts and rotates. Because of the rotation and liquid inertia, ONE EDGE of the lightweight plastic lid partially pops loose from the cup rim. The lid does not disappear and does not explode away. A real physical gap forms between lid and rim. ONLY THEN does dark coffee begin escaping through this opening. Initial liquid movement is restrained. PHONE The SAME OPEN clamshell phone leaves the RIGHT hand. It receives one short outward/upward impulse. It keeps the SAME open angle and physical design. The instant it separates from the fingers: RIGHT HAND = EMPTY. The instant the cup separates: LEFT HAND = EMPTY. FACE / HAIR CONTINUITY Preserve the exact face from REFERENCE IMAGE 1 during the entire collision. The natural human eyes already exist behind the sunglasses. When the sunglasses separate, reveal the SAME normal eyes: stable pupils, eyelids, gaze direction, brows, nose, cheekbones and facial symmetry. Do not regenerate or alter the face. Hair remains stable with only subtle realistic inertia. No sudden hairstyle change. 4.4–5.2s — BULLET-TIME ESTABLISHMENT Time decelerates dramatically to approximately 2–3% normal speed. DO NOT immediately go into macro. FIRST show a clear medium-wide frozen view of the entire accident. The protagonist is beginning to fall backward. BOTH HANDS ARE EMPTY. Establish fixed WORLD-SPACE anchors: • sunglasses suspended near their release position; • coffee cup suspended lower and toward the LEFT-hand release side; • partially detached lid still connected to or immediately beside the cup; • restrained coffee beginning to escape through the opening; • OPEN flip phone suspended toward the RIGHT-hand release side. Objects move only microscopically. They do NOT move toward the camera. The CAMERA is the main moving element. 5.2–6.8s — SUNGLASSES HERO INSPECTION The sunglasses remain almost completely stationary at their existing world-space position. CAMERA physically dollies toward them. The sunglasses become larger ONLY because the camera gets closer. Once close, slow the camera dramatically. HOLD. Perform a restrained 20–30 degree camera orbit/parallax around the almost-stationary sunglasses. Reveal: dark shield lens, thin metallic/gold frame, temples, hinges, edges, material thickness, surface reflections, tiny manufacturing details. Use shallow photographic macro depth of field. The protagonist and sunset environment remain softly recognizable in the background. The sunglasses must look like a real luxury fashion accessory photographed with a macro cinema lens, NOT CGI product animation. Complete the inspection before moving away. 6.8–8.3s — COFFEE / LIQUID INSPECTION Only after completing the sunglasses inspection, the CAMERA leaves them at their existing world-space position. Travel diagonally through the frozen scene toward the SAME coffee cup. THE CUP DOES NOT MOVE TOWARD THE CAMERA. Hold a photographic macro close-up. Show: same paper cup, same lightweight plastic lid, ONE partially detached lid edge, clear physical gap, dark coffee escaping ONLY through that gap. Real restrained liquid physics: thin irregular stream, imperfect liquid sheet, several differently sized droplets, realistic surface tension, natural reflections. No explosive splash. No decorative CGI liquid. No perfect artificial shapes. Coffee advances only microscopically during bullet time. Perform a small restrained lateral/parallax camera movement around the cup, lid and droplets. HOLD long enough to see paper texture, plastic texture, liquid thickness and individual droplets. 8.3–9.8s — FLIP PHONE INSPECTION Only after coffee inspection, the CAMERA travels away from the cup. The cup, lid and droplets remain at their existing world-space positions. CAMERA moves through the same frozen scene toward the SINGLE OPEN silver-grey clamshell phone. THE PHONE DOES NOT MOVE TOWARD THE CAMERA. First establish the complete phone silhouette: same silver-grey housing, same upper display, same lower keypad, same central hinge, same open angle. Then CAMERA physically approaches the existing upper display. Extreme photographic macro close-up. The illuminated display reads: BOSS with one small realistic phone number underneath. HOLD. Show: real housing material, hinge, keypad texture, small scratches, surface wear, screen reflections. The phone does NOT transform to reveal its screen. It is the SAME phone seen from the beginning. The protagonist’s RIGHT HAND remains completely EMPTY in the background. 9.8–10.4s — COMPLETE FROZEN TABLEAU After phone inspection, CAMERA performs a fast but perfectly smooth dolly backward. All objects remain at their existing world-space positions. Reveal: same protagonist falling backward, both hands empty, same sunglasses, same coffee cup, same partially detached lid, same suspended coffee droplets, same OPEN flip phone, exactly one secondary person, exactly one Labrador. All positions must remain spatially consistent with the original collision and release trajectories. No object follows the camera. No object teleports. No object regenerates. Brief HOLD on the complete frozen tableau. 10.4–12.0s — TIME RETURNS / PHYSICAL PAYOFF Time suddenly snaps back to normal speed. Gravity and existing momentum resume simultaneously. Every object continues FROM ITS EXISTING WORLD-SPACE POSITION. The protagonist completes her backward fall naturally. The sunglasses continue from their suspended position and land according to their existing momentum and gravity. The coffee cup continues from its own separate position, impacts the cobblestone ground, the partially detached lid reacts naturally, and remaining coffee spills irregularly through the real opening and impact point. The OPEN flip phone continues from its own separate position, hits the ground and makes ONE small physically believable bounce. Objects land at DIFFERENT plausible locations. They do NOT suddenly converge beside the protagonist. CAMERA rapidly tilts/drops toward ground level to follow the final impacts. Finish with a cinematic low-angle composition showing the fallen protagonist and the scattered objects within the same believable sunset environment. Hard cut. BULLET-TIME CAMERA RULE — NON-NEGOTIABLE BULLET TIME = ALMOST-FROZEN PHYSICAL WORLD + FREELY MOVING CAMERA. Objects stay in WORLD SPACE. Camera moves through WORLD SPACE. Close-up is created ONLY by reducing camera-to-object distance. Never: move objects toward the lens, artificially enlarge objects, teleport objects, regenerate macro versions. STRICT CAMERA ROUTE: FULL FROZEN TABLEAU → CAMERA DOLLIES TO SUNGLASSES → HOLD → 20–30° CAMERA ORBIT → CAMERA TRAVELS TO COFFEE → HOLD → SMALL CAMERA PARALLAX → CAMERA TRAVELS TO PHONE → ESTABLISH COMPLETE PHONE → MOVE TO DISPLAY → HOLD → CAMERA DOLLIES BACK TO COMPLETE TABLEAU → TIME RETURNS CONTINUITY / CAUSALITY Wide shot → medium shot → macro shot = SAME physical object viewed from different camera distances. Sunglasses: same object, same design, same trajectory, same world-space identity. Coffee: same cup, same lid, same coffee, same rotation, same world-space identity. Phone: same open clamshell phone, same housing, hinge, keypad, display, open angle and world-space identity. Every visible change must have a physical cause. Collision causes recoil. Collision momentum separates sunglasses. Finger release changes phone position. Hand release + collision momentum rotates cup. Cup rotation/liquid inertia partially opens lid. Coffee escapes only through the physical gap. Camera movement creates apparent object scale. Gravity resumes final fall. Treat the entire sequence as ONE continuous practical-effects event photographed with a motion-control cinema camera. IDENTITY / PROP LOCK ONE protagonist. ONE secondary person. ONE Labrador. ONE leash. ONE pair of sunglasses. ONE coffee cup. ONE lid. ONE OPEN flip phone. Before collision: RIGHT HAND = phone. LEFT HAND = coffee. Sunglasses = worn. After collision: RIGHT HAND = EMPTY. LEFT HAND = EMPTY. Sunglasses = separated. No second phone. No second cup. No second sunglasses. No additional dog. No additional person. No unexplained props. No duplication. No teleportation. No unexplained scale changes. VISUAL PRIORITY 1. exact protagonist identity from REFERENCE IMAGE 1 2. natural eyes and facial anatomy 3. stable hairstyle and body proportions 4. exact clothing and accessories 5. exact sunglasses from REFERENCE IMAGE 3 6. stable phone geometry 7. empty hands after release 8. continuous physical trajectories 9. realistic environment inspired by REFERENCE IMAGE 2 PHOTOGRAPHIC REALISM Ultra-photorealistic LIVE-ACTION. High-budget international luxury fashion campaign. Real human anatomy. Natural skin pores. Natural facial micro-expressions. Detailed realistic hair. Real manufactured sunglasses. Real paper cup. Real plastic lid. Real liquid coffee. Real early-2000s flip phone. Real object mass, inertia, gravity, momentum and surface tension. ARRI Alexa 35 cinematic character. Premium cinema optics. Motivated sunset lighting inspired by REFERENCE IMAGE 2. Controlled highlights. Natural skin tones. Realistic optical depth of field. Shallow macro depth of field during object inspections. Subtle 35mm film texture. Restrained luxury editorial colour grade. Natural colours. Sharp optical clarity. Cinematic photographic texture. Bullet-time must feel like REAL high-speed practical photography with a motion-control cinema camera, NOT CGI product animation. 4K / Ultra HD. Maximum facial detail. Maximum hair detail. Maximum material fidelity. Stable identity. Stable geometry. Stable prop continuity.

Oogie

18,923 просмотров • 16 дней назад

🚨 🚨 THE WNBA HAS 3 OPTIONS LEFT WITH DIJONAI CARRINGTON. ALL 3 ARE CATASTROPHIC. This is the moment nobody wants to talk about. After a flagrant 2 to the face and neck, a "WHITE PRIVILEGE" post, and millions rallying behind Sophie Cunningham → the league is now boxed into three choices. And every single one is a nightmare: ⚠️ OPTION 1: SUSPEND CARRINGTON – Confirms the officials called it "unnecessary and excessive to a player in a vulnerable position" for a reason – Sky lose a starter for multiple games – Carrington's supporters accuse the league of caving to backlash – Race-card critics feel vindicated – Precedent set for every hard foul going forward ⚠️ OPTION 2: FINE HER AND MOVE ON – Cunningham's side calls it a joke punishment for a neck-high swipe – Millions already rallying behind Cunningham get louder – Every future flagrant gets compared to this one – League looks like it's protecting Carrington over player safety – Ejection stands, incident quietly disappears ⚠️ OPTION 3: STAY SILENT AND LET FANS DECIDE – Both sides claim victory in the vacuum – Cunningham's "common sense" stance gets amplified by the silence – Carrington's "white privilege" claim never gets addressed or denied – The league loses control of its own storyline entirely – Every game between these two teams becomes a referendum Let that sink in. There is no Option 4. There is no clean ruling. There is no "everyone just moves on." The media is showing you a flagrant foul and an ejection. They're NOT showing you that this is the same league that spent July watching Cunningham get rallied for and protested against over her stance on women's sports. This is the most scrutinized disciplinary decision the WNBA has faced in years. Follow now → this story is already being buried. RT so others see this. Prepare accordingly. 🚨🚨🚨 I'll keep you updated as this unfolds, turn on notifications this is EXTREMELY important.
0:10

🚨 🚨 THE WNBA HAS 3 OPTIONS LEFT WITH DIJONAI CARRINGTON. ALL 3 ARE CATASTROPHIC. This is the moment nobody wants to talk about. After a flagrant 2 to the face and neck, a "WHITE PRIVILEGE" post, and millions rallying behind Sophie Cunningham → the league is now boxed into three choices. And every single one is a nightmare: ⚠️ OPTION 1: SUSPEND CARRINGTON – Confirms the officials called it "unnecessary and excessive to a player in a vulnerable position" for a reason – Sky lose a starter for multiple games – Carrington's supporters accuse the league of caving to backlash – Race-card critics feel vindicated – Precedent set for every hard foul going forward ⚠️ OPTION 2: FINE HER AND MOVE ON – Cunningham's side calls it a joke punishment for a neck-high swipe – Millions already rallying behind Cunningham get louder – Every future flagrant gets compared to this one – League looks like it's protecting Carrington over player safety – Ejection stands, incident quietly disappears ⚠️ OPTION 3: STAY SILENT AND LET FANS DECIDE – Both sides claim victory in the vacuum – Cunningham's "common sense" stance gets amplified by the silence – Carrington's "white privilege" claim never gets addressed or denied – The league loses control of its own storyline entirely – Every game between these two teams becomes a referendum Let that sink in. There is no Option 4. There is no clean ruling. There is no "everyone just moves on." The media is showing you a flagrant foul and an ejection. They're NOT showing you that this is the same league that spent July watching Cunningham get rallied for and protested against over her stance on women's sports. This is the most scrutinized disciplinary decision the WNBA has faced in years. Follow now → this story is already being buried. RT so others see this. Prepare accordingly. 🚨🚨🚨 I'll keep you updated as this unfolds, turn on notifications this is EXTREMELY important.

Taegun Lee | IQ 285

1,105,357 просмотров • 1 месяц назад

Another 4-way split screen clip with Flux 3! Prompt : Four-way split-screen showing the same emergency airplane river landing from four synchronized camera perspectives. Each panel follows the aircraft continuously while the visuals change as the event unfolds. Top left: interior cabin view showing passengers, crew, shaking seats, overhead bins, and the river visible through the windows. Top right: exterior side-tracking view following the aircraft as it descends, levels out, touches the water, and creates a large spray. Bottom left: cockpit view showing the pilots, controls, instrument lights, windshield view, and final approach toward the river. Bottom right: aerial view tracking the aircraft from above, showing its flight path, surrounding city, bridges, river traffic, touchdown, and wake. At the 2-second mark, the aircraft descends lower. Passengers brace, the pilots adjust the nose, and the wings remain level. The plane touches the river, producing a wide burst of water. It skims forward, slows down, and settles while floating. Emergency boats appear in the distance. The cameras may change framing, zoom slightly, or reposition to keep the main action visible, but every panel must remain perfectly synchronized. Show identical aircraft movement, timing, passenger reactions, lighting, weather, water spray, reflections, and final position. Use realistic aviation details, natural reactions, believable water-landing physics, cinematic realism, and consistent spatial continuity. No duplicated aircraft, mismatched timing, changing plane design, teleportation, or contradictory actions between views.
0:15

Another 4-way split screen clip with Flux 3! Prompt : Four-way split-screen showing the same emergency airplane river landing from four synchronized camera perspectives. Each panel follows the aircraft continuously while the visuals change as the event unfolds. Top left: interior cabin view showing passengers, crew, shaking seats, overhead bins, and the river visible through the windows. Top right: exterior side-tracking view following the aircraft as it descends, levels out, touches the water, and creates a large spray. Bottom left: cockpit view showing the pilots, controls, instrument lights, windshield view, and final approach toward the river. Bottom right: aerial view tracking the aircraft from above, showing its flight path, surrounding city, bridges, river traffic, touchdown, and wake. At the 2-second mark, the aircraft descends lower. Passengers brace, the pilots adjust the nose, and the wings remain level. The plane touches the river, producing a wide burst of water. It skims forward, slows down, and settles while floating. Emergency boats appear in the distance. The cameras may change framing, zoom slightly, or reposition to keep the main action visible, but every panel must remain perfectly synchronized. Show identical aircraft movement, timing, passenger reactions, lighting, weather, water spray, reflections, and final position. Use realistic aviation details, natural reactions, believable water-landing physics, cinematic realism, and consistent spatial continuity. No duplicated aircraft, mismatched timing, changing plane design, teleportation, or contradictory actions between views.

Umesh

37,278 просмотров • 1 месяц назад

Let's go to the fashion show this evening!🩱👠 Who is your favorite model?😏 Dua Lipa and Anya Taylor-Joy 😍 Nano Banana 2 via Hailuo AI & Kling 3.0 via Higgsfield AI 🔊 Prompt: { "prompt": "Photorealistic high-fashion runway portrait in 9:16 aspect ratio. Young woman with elegant facial features and confident presence, long voluminous wavy black hair flowing behind with slight motion blur from walking, flawless makeup with defined brows, long lashes, subtle glowy highlighter, natural pink lips, confident fierce runway expression, intense direct gaze toward camera, slight head tilt, one hand raised near face in casual power gesture. Mid-stride powerful confident catwalk walk toward camera, one leg forward crossing slightly, hips naturally swaying, left hand raised casually near chin, right hand holding small black bag at side. Wearing a pink high-fashion one-piece swimsuit with elegant deep V-neckline and side details, black trim border on all edges. Nude barely-there heels. Background: outdoor night runway show — dark tropical night sky, palm tree silhouettes visible left background, red neon illuminated geometric LED stage structure right background, blurred audience with smartphone lights visible both sides of runway, dark atmospheric moody event atmosphere. Dramatic outdoor night runway lighting — powerful bright white spotlight from directly behind subject creating strong backlight halo effect on hair, secondary fill light from front, high contrast dark background with warm red/orange neon light structures visible behind, dramatic chiaroscuro effect. Large bold white capital letters 'KEOR' prominently displayed on a sign in the background. Photorealistic fashion photography, sharp focus on subject, natural skin texture, motion energy, professional event photography, 8k resolution.", "negative_prompt": "deformed face, extra limbs, bad anatomy, blurry, low resolution, ugly, cartoon, anime, overexposed, harsh shadows, text artifacts except KEOR sign, watermark, other people in foreground, different hair color/style, tattoos on arms, sunglasses, logos other than KEOR, dark lighting, night time without runway lights, indoor, mismatched clothing, no KEOR sign, plastic skin, distorted proportions, extra clothing layers", "parameters": { "aspect_ratio": "9:16", "style": "photorealistic fashion runway photography", "quality": "ultra detailed, 8k, razor sharp, high dynamic range, cinematic", "lighting": "bright natural daylight, golden hour tones, high contrast sea sparkle", "detail_level": "ultra high", "resolution": "8k", "model_version": "latest photoreal model" } }
0:15

Let's go to the fashion show this evening!🩱👠 Who is your favorite model?😏 Dua Lipa and Anya Taylor-Joy 😍 Nano Banana 2 via Hailuo AI & Kling 3.0 via Higgsfield AI 🔊 Prompt: { "prompt": "Photorealistic high-fashion runway portrait in 9:16 aspect ratio. Young woman with elegant facial features and confident presence, long voluminous wavy black hair flowing behind with slight motion blur from walking, flawless makeup with defined brows, long lashes, subtle glowy highlighter, natural pink lips, confident fierce runway expression, intense direct gaze toward camera, slight head tilt, one hand raised near face in casual power gesture. Mid-stride powerful confident catwalk walk toward camera, one leg forward crossing slightly, hips naturally swaying, left hand raised casually near chin, right hand holding small black bag at side. Wearing a pink high-fashion one-piece swimsuit with elegant deep V-neckline and side details, black trim border on all edges. Nude barely-there heels. Background: outdoor night runway show — dark tropical night sky, palm tree silhouettes visible left background, red neon illuminated geometric LED stage structure right background, blurred audience with smartphone lights visible both sides of runway, dark atmospheric moody event atmosphere. Dramatic outdoor night runway lighting — powerful bright white spotlight from directly behind subject creating strong backlight halo effect on hair, secondary fill light from front, high contrast dark background with warm red/orange neon light structures visible behind, dramatic chiaroscuro effect. Large bold white capital letters 'KEOR' prominently displayed on a sign in the background. Photorealistic fashion photography, sharp focus on subject, natural skin texture, motion energy, professional event photography, 8k resolution.", "negative_prompt": "deformed face, extra limbs, bad anatomy, blurry, low resolution, ugly, cartoon, anime, overexposed, harsh shadows, text artifacts except KEOR sign, watermark, other people in foreground, different hair color/style, tattoos on arms, sunglasses, logos other than KEOR, dark lighting, night time without runway lights, indoor, mismatched clothing, no KEOR sign, plastic skin, distorted proportions, extra clothing layers", "parameters": { "aspect_ratio": "9:16", "style": "photorealistic fashion runway photography", "quality": "ultra detailed, 8k, razor sharp, high dynamic range, cinematic", "lighting": "bright natural daylight, golden hour tones, high contrast sea sparkle", "detail_level": "ultra high", "resolution": "8k", "model_version": "latest photoreal model" } }

KeorUnreal

48,315 просмотров • 5 месяцев назад

Honestly, I hate that I even have to say this, but seeing people use one single fancam to claim Sana “can’t dance” is genuinely ridiculous. Y’all, for everyone dragging Sana because of one video from the 73rd THIS IS FOR tour show, I think it’s important to look at the full context before judging her dancing ability. First of all, Sana had been dealing with a cold, flu, and cough for over a month at that point, which can definitely affect stamina and performance consistency during a 2–3 hour concert. There are also several factors that can make the dancing look less smooth in that particular fancam: 1. Outfit If you’ve watched other fancams from this black outfit era, Sana was adjusting her outfit quite often on stage because it seemed to shift, slip, or sit unevenly at times. An uncomfortable outfit can naturally affect movement and make a performer more cautious. 2. Camera tracking The camera appears to follow her movements slightly late. Even a small delay can make smooth transitions look jerky or abrupt when viewed on video. 3. Awkward zoom distance The fancam isn’t zoomed out enough to show the full choreography, but it’s also not close enough to focus on facial expressions. Because of that, viewers end up focusing mostly on body transitions and posture, which can make movements look harsher than they actually are. 4. Phone camera limitations High-energy movements recorded on a phone can suffer from motion blur, stabilization issues, and frame-rate limitations. Sharp movements that look clean in person can appear choppy or less fluid on video. 5.Stamina This was already the 73rd show of the tour. Performing the same demanding choreography for dozens of concerts while dealing with illness can affect anyone’s energy level. And if this one clip is enough to convince you that Sana “can’t dance,” then I encourage you to watch other performances of Right Hand Girl from different angles and different outfits. Looking at a performer’s overall body of work will always give a more accurate picture than judging them from a single fancam. One fancam does not erase years of consistently solid performances.
0:29

Honestly, I hate that I even have to say this, but seeing people use one single fancam to claim Sana “can’t dance” is genuinely ridiculous. Y’all, for everyone dragging Sana because of one video from the 73rd THIS IS FOR tour show, I think it’s important to look at the full context before judging her dancing ability. First of all, Sana had been dealing with a cold, flu, and cough for over a month at that point, which can definitely affect stamina and performance consistency during a 2–3 hour concert. There are also several factors that can make the dancing look less smooth in that particular fancam: 1. Outfit If you’ve watched other fancams from this black outfit era, Sana was adjusting her outfit quite often on stage because it seemed to shift, slip, or sit unevenly at times. An uncomfortable outfit can naturally affect movement and make a performer more cautious. 2. Camera tracking The camera appears to follow her movements slightly late. Even a small delay can make smooth transitions look jerky or abrupt when viewed on video. 3. Awkward zoom distance The fancam isn’t zoomed out enough to show the full choreography, but it’s also not close enough to focus on facial expressions. Because of that, viewers end up focusing mostly on body transitions and posture, which can make movements look harsher than they actually are. 4. Phone camera limitations High-energy movements recorded on a phone can suffer from motion blur, stabilization issues, and frame-rate limitations. Sharp movements that look clean in person can appear choppy or less fluid on video. 5.Stamina This was already the 73rd show of the tour. Performing the same demanding choreography for dozens of concerts while dealing with illness can affect anyone’s energy level. And if this one clip is enough to convince you that Sana “can’t dance,” then I encourage you to watch other performances of Right Hand Girl from different angles and different outfits. Looking at a performer’s overall body of work will always give a more accurate picture than judging them from a single fancam. One fancam does not erase years of consistently solid performances.

puteri🍉

38,216 просмотров • 3 месяцев назад

Let’s end the day with an action movie scene starring Madison Beer 🎬🔥 Good night folks!✨💫 Seedance 2.0 via Hailuo AI Prompt: Video Prompt: Cinematic 15-second continuous shot starting exactly from the uploaded photo: a striking woman with long straight dark hair, wearing a white off-shoulder open-knit crop top and matching high-waisted white skirt with delicate crochet details and “Keor” embroidery, holding a small woven straw bag in her right hand, walking confidently toward camera down a narrow sunlit European market street lined with hanging textiles, pottery stalls, clothing racks, and passersby.Action & Camera (high-octane stylish action-thriller style, tense, precise, kinetic):0–3s: Smooth tracking shot backward at walking pace, keeping her centered in a medium full-body frame as she advances through the crowd with calm focus. Soft natural sunlight filters between the buildings. Subtle handheld micro-shake adds realism. Background pedestrians move naturally.3–6s: Her eyes suddenly lock onto something off-screen to the right. She stops mid-stride, drops the bag, and pivots sharply. Two hostile figures push through the crowd toward her. Camera snaps into a quick lateral dolly left, then locks into a tight over-the-shoulder as she raises her guard.6–10s: She launches into a rapid, precise fight sequence — ducking a grab, delivering a sharp elbow, spinning to sweep a leg, then using a nearby pottery stall for cover as she throws a ceramic pot that shatters. Camera circles her at high speed in a continuous 360° orbit at chest height, intercut with brief whip-pans to capture impacts, with motion blur on limbs and flying debris. Dust and fabric scraps kick up in the sunlight.10–13s: She dispatches the second attacker with a controlled takedown, then sprints forward through the narrow street, weaving between startled shoppers. Camera switches to a low, aggressive tracking shot racing alongside her at knee height, then rises into a dynamic following shot as she vaults over a low market table.13–15s: She reaches a corner, glances back once, then disappears into a side alley as the camera slows into a final wide shot of the chaotic market street behind her — overturned stalls, scattered goods, and remaining figures recovering. Dust settles in the bright sunlight.Maintain ultra-realistic detail, high-contrast natural daylight with sharp shadows, subtle motion blur on fast action, photorealistic physics, intense kinetic energy, and continuous 15-second take with no cuts.
0:15

Let’s end the day with an action movie scene starring Madison Beer 🎬🔥 Good night folks!✨💫 Seedance 2.0 via Hailuo AI Prompt: Video Prompt: Cinematic 15-second continuous shot starting exactly from the uploaded photo: a striking woman with long straight dark hair, wearing a white off-shoulder open-knit crop top and matching high-waisted white skirt with delicate crochet details and “Keor” embroidery, holding a small woven straw bag in her right hand, walking confidently toward camera down a narrow sunlit European market street lined with hanging textiles, pottery stalls, clothing racks, and passersby.Action & Camera (high-octane stylish action-thriller style, tense, precise, kinetic):0–3s: Smooth tracking shot backward at walking pace, keeping her centered in a medium full-body frame as she advances through the crowd with calm focus. Soft natural sunlight filters between the buildings. Subtle handheld micro-shake adds realism. Background pedestrians move naturally.3–6s: Her eyes suddenly lock onto something off-screen to the right. She stops mid-stride, drops the bag, and pivots sharply. Two hostile figures push through the crowd toward her. Camera snaps into a quick lateral dolly left, then locks into a tight over-the-shoulder as she raises her guard.6–10s: She launches into a rapid, precise fight sequence — ducking a grab, delivering a sharp elbow, spinning to sweep a leg, then using a nearby pottery stall for cover as she throws a ceramic pot that shatters. Camera circles her at high speed in a continuous 360° orbit at chest height, intercut with brief whip-pans to capture impacts, with motion blur on limbs and flying debris. Dust and fabric scraps kick up in the sunlight.10–13s: She dispatches the second attacker with a controlled takedown, then sprints forward through the narrow street, weaving between startled shoppers. Camera switches to a low, aggressive tracking shot racing alongside her at knee height, then rises into a dynamic following shot as she vaults over a low market table.13–15s: She reaches a corner, glances back once, then disappears into a side alley as the camera slows into a final wide shot of the chaotic market street behind her — overturned stalls, scattered goods, and remaining figures recovering. Dust settles in the bright sunlight.Maintain ultra-realistic detail, high-contrast natural daylight with sharp shadows, subtle motion blur on fast action, photorealistic physics, intense kinetic energy, and continuous 15-second take with no cuts.

KeorUnreal

10,169 просмотров • 1 месяц назад

GPT image+Seedance 2.0 Video Prompt — 15 Seconds | 8 Scenes | 9:16 Create a cute, hyper-detailed claymation stop-motion video showing the step-by-step creation of a miniature traditional Phinisi sailing ship from colorful modeling clay. Keep the visual style consistent with the reference image: handcrafted clay texture, miniature diorama, bright tropical ocean, soft cinematic lighting, colorful and satisfying visuals. Scene 1 — 0:00–0:02 Top-down close-up of colorful clay pieces, wooden-style clay tools, tiny ropes and miniature ship accessories arranged neatly on a crafting table. A pair of small clay hands begins preparing the materials. Slow camera push-in. Scene 2 — 0:02–0:04 Close-up of hands shaping the brown clay into the curved wooden hull of the miniature Phinisi ship. Show fingerprints and realistic clay texture. Smooth stop-motion movements. Scene 3 — 0:04–0:06 The hull becomes more detailed as tiny windows, railings, decorative patterns and wooden planks are carefully added. Camera slowly rotates around the model. Scene 4 — 0:06–0:08 Two tall masts are placed precisely onto the ship. Tiny ropes and rigging appear piece by piece. Close-up macro shot emphasizing the craftsmanship. Scene 5 — 0:08–0:10 Cream-colored clay sails unfold and attach to the masts. The complete miniature ship begins to take shape. Camera changes to a low cinematic angle. Scene 6 — 0:10–0:12 Tiny cabin, deck details, windows, ropes and accessories are added. The camera moves smoothly along the side of the ship, revealing the intricate handcrafted details. Scene 7 — 0:12–0:14 The finished Phinisi ship is placed on a miniature turquoise ocean made from textured clay. Small waves move around the hull while the ship gently rocks. Scene 8 — 0:14–0:15 Wide cinematic final shot: the completed miniature Phinisi sailing peacefully across the bright blue clay ocean under a sunny tropical sky, with small clouds, palm trees and colorful scenery in the background. The ship gently moves with the waves. Style: premium clay animation, stop-motion, handcrafted miniature, pastel clay texture, ultra-detailed, colorful, cinematic lighting, macro photography, shallow depth of field, smooth camera movement, satisfying transformations, realistic miniature scale. Audio: soft clay-working sounds, gentle tapping and sculpting sounds, subtle ocean waves, light tropical ambience and soft cheerful background music. Negative Prompt: blurry details, distorted ship, extra masts, deformed hands, flickering, inconsistent objects, realistic human proportions, text overlays, watermark, logo, sudden camera movement, low-quality textures. Seedance 2.0
0:15

GPT image+Seedance 2.0 Video Prompt — 15 Seconds | 8 Scenes | 9:16 Create a cute, hyper-detailed claymation stop-motion video showing the step-by-step creation of a miniature traditional Phinisi sailing ship from colorful modeling clay. Keep the visual style consistent with the reference image: handcrafted clay texture, miniature diorama, bright tropical ocean, soft cinematic lighting, colorful and satisfying visuals. Scene 1 — 0:00–0:02 Top-down close-up of colorful clay pieces, wooden-style clay tools, tiny ropes and miniature ship accessories arranged neatly on a crafting table. A pair of small clay hands begins preparing the materials. Slow camera push-in. Scene 2 — 0:02–0:04 Close-up of hands shaping the brown clay into the curved wooden hull of the miniature Phinisi ship. Show fingerprints and realistic clay texture. Smooth stop-motion movements. Scene 3 — 0:04–0:06 The hull becomes more detailed as tiny windows, railings, decorative patterns and wooden planks are carefully added. Camera slowly rotates around the model. Scene 4 — 0:06–0:08 Two tall masts are placed precisely onto the ship. Tiny ropes and rigging appear piece by piece. Close-up macro shot emphasizing the craftsmanship. Scene 5 — 0:08–0:10 Cream-colored clay sails unfold and attach to the masts. The complete miniature ship begins to take shape. Camera changes to a low cinematic angle. Scene 6 — 0:10–0:12 Tiny cabin, deck details, windows, ropes and accessories are added. The camera moves smoothly along the side of the ship, revealing the intricate handcrafted details. Scene 7 — 0:12–0:14 The finished Phinisi ship is placed on a miniature turquoise ocean made from textured clay. Small waves move around the hull while the ship gently rocks. Scene 8 — 0:14–0:15 Wide cinematic final shot: the completed miniature Phinisi sailing peacefully across the bright blue clay ocean under a sunny tropical sky, with small clouds, palm trees and colorful scenery in the background. The ship gently moves with the waves. Style: premium clay animation, stop-motion, handcrafted miniature, pastel clay texture, ultra-detailed, colorful, cinematic lighting, macro photography, shallow depth of field, smooth camera movement, satisfying transformations, realistic miniature scale. Audio: soft clay-working sounds, gentle tapping and sculpting sounds, subtle ocean waves, light tropical ambience and soft cheerful background music. Negative Prompt: blurry details, distorted ship, extra masts, deformed hands, flickering, inconsistent objects, realistic human proportions, text overlays, watermark, logo, sudden camera movement, low-quality textures. Seedance 2.0

Soaima

13,089 просмотров • 1 месяц назад